Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Composed by Various. Traditional Pop, Broadway and Vocal Standards. Songbook (so...(+)
Composed by Various.
Traditional Pop, Broadway
and Vocal Standards.
Songbook (softcover).
With vocal melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. 576
pages. Published by Hal
Leonard
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Clarinet; Piano Accompaniment (Clarinet/Piano) SKU: HL.48025033 In Mem...(+)
Clarinet; Piano
Accompaniment
(Clarinet/Piano)
SKU:
HL.48025033
In
Memory of the
Reichspogromnacht
November 9,1938 Clarinet
in B-. Composed by
Ursula Mamlok.
Windependence Chamber
Ensemble. Classical.
Softcover. 12 pages. Bote
& Bock #M202536056.
Published by Bote & Bock
(HL.48025033).
ISBN
9783793143024. UPC:
196288019978.
The
Shoa never was a theme in
the works of Ursula
Mamlok - with the
exception of Ruckblick
for saxophone and piano
which she wrote in 2002
on commission of the
Temple University in
memory of Kristallnacht.
The contrast between slow
and fast movements is
much moreelaborate than
in her other works from
that period, with the
fast movements appearing
somewhat driven while the
piano part for a
fewmoments adopts an
otherwise unknown
severity. Near the end of
the third movement,
cantabile and fleeting
gestures are suddenly
pushed toward each other.
The first fast movement
arises from the
destruction of attempted
cantability. The Elegy
(2nd movement) dies away
with a four-fold reminder
of its initial motif, the
last attempt remaining
fragmentary. The fourth
movement Lament concludes
with a figure that
returns to its beginning.
In addition to the
original version with
alto saxophone, versions
with bass clarinet or for
clarinet in Bb are
available.
A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag...(+)
A Kind of Miniatures /
Panta Rhei. By Lutz
Gerlach. For Piano.
Solos. AMA Verlag.
Contemporary. Level:
Beginning-Intermediate.
Book. Size 9x12. 144
pages. Published by AMA
Verlag. ISBN 3899220102.
Compiled by Peter Wernick. For voice and guitar (or banjo). Format: fake book (s...(+)
Compiled by Peter
Wernick. For voice and
guitar (or banjo).
Format: fake book
(simplified 3 string
guitar tablature). With
vocal melody (simplified
3 string guitar
tablature), lyrics, chord
names, performance notes,
introductory text and
black
SKU: GI.G-1095 Composed by James Jordan & The Same Stream. GIA ChoralWork...(+)
SKU: GI.G-1095
Composed by James Jordan
& The Same Stream. GIA
ChoralWorks. Music
Education. Choral score.
GIA Publications #1095.
Published by GIA
Publications (GI.G-1095).
The Universe
works in strange ways.
Recorded almost three
years ago, none of us
could have known that
when this recording was
released the world would
have lived through a
life-altering pandemic or
a tumultuous upheaval in
the cultural awareness
that now surrounds us.
The work that opens this
recording—with the
words of Quaker George
Fox that end with,
“So be faithful,
and live in that which
doth not think the time
longâ€â€”provid
es a haunting premonition
regarding the time in
which we live, Quaker
George Fox is strangely
prophetic about these
days and perhaps provides
a future caution for us
all. The music chosen for
this recording is
strangely and poignantly
relevant, I believe, for
each of us. “The
Fruit of Silenceâ€
by PÄ“teris Vasks
reminds us to visit those
beliefs that are most
sacred in the work by
Cortlandt Matthews. A
deeply personal Requiem
by Peter Relph, in
reflection, remembers the
hundreds of thousands of
lives lost in the
pandemic. And then there
is Thomas LaVoy’s
“O Great
Beyond.†All great
texts are timeless and
speak to the universality
of the human condition.
Particularly, the George
Fox text set by Jackson
Hill and the Tagore text
set by LaVoy give us
messages to reinforce the
humanness of each of us
for hope. Two other works
on this recording
poignantly remind us of
the passing of life, with
the Relph Requiem and
especially the final
movement of “O
Great Beyond.†May
these words give comfort
to all those who endured
the deepest of
Life’s losses
during our shared
pandemic journey. For so
many loved ones, goodbyes
were said in silence, and
alone. It is our hope
that all the music on
this CD will show us a
way for living as we move
forward and also give
loving comfort to those
who have lost loved ones.
Peace, my heart, let the
time for the parting be
sweet. Let it not be a
death but completeness.
Let love melt into memory
and pain into songs. Let
the flight through the
sky end in the folding of
the wings over the nest.
Let the last touch of
your hands be gentle like
the flower of the night.
Stand still, O Beautiful
End, for a moment, and
say your last words in
silence. I bow to you and
hold up my lamp to light
you on your way.
—Rabindranath
Tagore in The Gardener
(1913).