(The Best Blend of Contemporary and Classic Songs 9x12 Edition). Composed by Var...(+)
(The Best Blend of
Contemporary and Classic
Songs 9x12 Edition).
Composed by Various. For
C Instruments. Fake Book.
Softcover. 432 pages.
Published by Hal Leonard
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Composed
by Stacy Garrop. Large
Score. With Standard
notation. 66 pages.
Duration 19 minutes.
Theodore Presser Company
#415-41156L. Published by
Theodore Presser Company
(PR.41541156L).
UPC:
680160642953. 11 x 17
inches.
The
Mythology Suite consists
of three movements of my
Mythology Symphony, which
I arranged for large wind
ensemble. The
arrangements of The
Lovely Sirens and
Penelope Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra's 2017
Japan tour. I added
Pandora Undone to
complete the set; Stephen
Squires and the Chicago
College of Performing
Arts gave the premiere of
the entire Suite in
February 2017. Movement
1: The Lovely Sirens The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Movement 2: Penelope
Waits This quiet movement
represents Queen
Penelope, the faithful
wife of Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches. Movement 3:
Pandora Undone This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. The Mytholo
gy Suite consists of
three movements of
my Mythology
Symphony, which I
arranged for large wind
ensemble. The
arrangements of The
Lovely
Sirens and Penelope
Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra’s
2017 Japan tour. I
added Pandora
Undone to complete the
set; Stephen Squires and
the Chicago College of
Performing Arts gave the
premiere of the entire
Suite in February
2017.Movement 1:Â The
Lovely
SirensThe Sirens were
sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.Movement
2:Â Penelope WaitsThis
quiet movement represents
Queen Penelope, the
faithful wife of
Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches.Movement
3:Â Pandora UndoneThis
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naïve
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new burden.
StudioTrax CD (accompaniment only) Choral (Studiotrax CD) SKU: HL.35031585(+)
StudioTrax CD
(accompaniment only)
Choral (Studiotrax CD)
SKU: HL.35031585
A Winter Service of
Hope and Healing.
Composed by Joseph M.
Martin. Shawnee Sacred.
Advent, Cantata,
Christmas,
Christmas/Advent Sacred,
General Worship, Sacred,
Winter. CD. Duration 2100
seconds. Published by
Shawnee Press
(HL.35031585).
ISBN
9781495091841. UPC:
888680675370. 5.0x5.0x0.2
inches.
The Longest
Night is a unique winter
service of devotion that
has a very special
ministry focus. This
introspective smaller
work is intended to be a
worship experience that
encourages those going
through times of sorrow
and grief during the
holidays. Inspired by the
solstice, winter's
longest night, this
service of music,
scripture and prayer
brings light into the
darkness and offers hope
to those in deepest need.
A small consort
orchestration adds a
fragile intimacy and
brings a healing ambience
to this singular service
of song. Songs include:
Prelude (In the Bleak
Midwinter); Be Still and
Know; The Winter Weeps in
Snowfall; He Shall Feed
His Flock; The Healing
Place; I Thank My God for
You; In the Bleak
Midwinter. Score and
Parts (fl, ob/eng hn, fr
hn, vibes, pno, vn, vc)
available as a Printed
Edition and as a digital
download.
Choral (Listening CD) SKU: HL.35031587 A Winter Service of Hope and He...(+)
Choral (Listening CD)
SKU: HL.35031587
A Winter Service of
Hope and Healing.
Composed by Joseph M.
Martin. Shawnee Sacred.
Advent, Cantata,
Christmas,
Christmas/Advent Sacred,
General Worship, Sacred,
Winter. CD. Duration 2100
seconds. Published by
Shawnee Press
(HL.35031587).
ISBN
9781495091865. UPC:
888680675394.
5.0x5.0x0.092
inches.
The Longest
Night is a unique winter
service of devotion that
has a very special
ministry focus. This
introspective smaller
work is intended to be a
worship experience that
encourages those going
through times of sorrow
and grief during the
holidays. Inspired by the
solstice, winter's
longest night, this
service of music,
scripture and prayer
brings light into the
darkness and offers hope
to those in deepest need.
A small consort
orchestration adds a
fragile intimacy and
brings a healing ambience
to this singular service
of song. Songs include:
Prelude (In the Bleak
Midwinter); Be Still and
Know; The Winter Weeps in
Snowfall; He Shall Feed
His Flock; The Healing
Place; I Thank My God for
You; In the Bleak
Midwinter. Score and
Parts (fl, ob/eng hn, fr
hn, vibes, pno, vn, vc)
available as a Printed
Edition and as a digital
download.
Consort (Print) Choral (Instrumental Consort) SKU: HL.35031583 A Winte...(+)
Consort (Print) Choral
(Instrumental Consort)
SKU: HL.35031583
A Winter Service of
Hope and Healing.
Composed by Joseph M.
Martin. Shawnee Sacred.
Advent, Cantata,
Christmas,
Christmas/Advent Sacred,
General Worship, Sacred,
Winter. Softcover.
Duration 2100 seconds.
Published by Shawnee
Press (HL.35031583).
ISBN 9781495091827.
UPC: 888680675356.
8.5x11.0x0.693
inches.
The Longest
Night is a unique winter
service of devotion that
has a very special
ministry focus. This
introspective smaller
work is intended to be a
worship experience that
encourages those going
through times of sorrow
and grief during the
holidays. Inspired by the
solstice, winter's
longest night, this
service of music,
scripture and prayer
brings light into the
darkness and offers hope
to those in deepest need.
A small consort
orchestration adds a
fragile intimacy and
brings a healing ambience
to this singular service
of song. Songs include:
Prelude (In the Bleak
Midwinter); Be Still and
Know; The Winter Weeps in
Snowfall; He Shall Feed
His Flock; The Healing
Place; I Thank My God for
You; In the Bleak
Midwinter. Score and
Parts (fl, ob/eng hn, fr
hn, vibes, pno, vn, vc)
available as a Printed
Edition and as a digital
download.
SplitTrax CD Choral (Split Trax) SKU: HL.35031586 A Winter Service of ...(+)
SplitTrax CD Choral
(Split Trax)
SKU:
HL.35031586
A
Winter Service of Hope
and Healing. Composed
by Joseph M. Martin.
Shawnee Sacred. Advent,
Cantata, Christmas,
Christmas/Advent Sacred,
General Worship, Sacred,
Winter. CD. Duration 2100
seconds. Published by
Shawnee Press
(HL.35031586).
ISBN
9781495091858. UPC:
888680675387.
5.0x5.0x0.02
inches.
The Longest
Night is a unique winter
service of devotion that
has a very special
ministry focus. This
introspective smaller
work is intended to be a
worship experience that
encourages those going
through times of sorrow
and grief during the
holidays. Inspired by the
solstice, winter's
longest night, this
service of music,
scripture and prayer
brings light into the
darkness and offers hope
to those in deepest need.
A small consort
orchestration adds a
fragile intimacy and
brings a healing ambience
to this singular service
of song. Songs include:
Prelude (In the Bleak
Midwinter); Be Still and
Know; The Winter Weeps in
Snowfall; He Shall Feed
His Flock; The Healing
Place; I Thank My God for
You; In the Bleak
Midwinter. Score and
Parts (fl, ob/eng hn, fr
hn, vibes, pno, vn, vc)
available as a Printed
Edition and as a digital
download.
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra
SKU:
SU.94010400
For
Orchestra. Composed
by James Lee III.
Orchestra. Study Score.
Subito Music Corporation
#94010400. Published by
Subito Music Corporation
(SU.94010400).
2,1 2,1 2,1
2,1; 4331; timp, perc(3),
cel, hp; stgs Duration:
11' Composed: 2013
Published by: Subito
Music Publishing
Performance materials
available on rental:
Alas! Babylon’s
Final Sunset is
another installment in my
series of works that
musically comment on the
biblical books of Daniel
and Revelation. The
principal source of
inspiration for this
works comes from the 18th
chapter of the book of
Revelation. This chapter
states that the career of
Babylon the Great is
finally coming to an end.
The music begins with a
mysterious pianissimo
tremolo accompanied by
tam-tam and bass drum.
The initial flourishes in
the oboes and English
horn serve as the
principal motive of
warning. As the music
continues, there are
varying degrees of
agitation among the
strings and woodwinds.
Throughout the work there
are rhythmic motives in
the brass, percussion,
and various woodwind
instruments that sing and
speak Babylon is Fallen
in triple meter. As the
tutti ensemble arrives at
a climax, the orchestral
texture becomes thinner
and slightly transparent.
As the music continues,
the opening motive
returns in the oboes,
however the counterpoint
produces a series of solo
laments. These passages
are intended to provide
picturesque images of
these words: And the
voice of harpers, and
musicians, and of pipers,
and trumpeters, shall be
heard no more at all in
thee; and no craftsman,
of whatsoever craft he
be, shall be found any
more in thee; and the
sound of a millstone
shall be heard no more at
all in thee; And the
light of a candle shall
shine no more at all in
thee. and the voice of
the bridegroom and of the
bride shall be heard no
more at all in thee: for
thy merchants were the
great men of the earth;
for by thy sorceries were
all nations deceived. And
in her was found the
blood of prophets, and of
saints, and of all that
were slain upon the
earth. Rev. 18:22-24 The
following passages
musically comment on the
historical career of
Babylon with a sense of
her impending
destruction. The series
of laments transforms
into the more emphatic
rhythmic motive Babylon
is Fallen. The orchestral
texture begins to become
more condense, once
again, with the initial
flourishes of, but with
notable variations.
Finally, the celesta,
harp, oboes, English
horn, and strings sing
profundities that are
finally transformed into
a minor mode tonality
that fades away with the
ringing of the tam-tam.
Babylon has finally seen
her last sunset.
Composed by
Kyle Pederson. Jbc. 8
pages. Duration 3
minutes, 41 seconds. Carl
Fischer Music #CM9722.
Published by Carl Fischer
Music (CF.CM9722).
ISBN 9781491161012.
UPC: 680160919611. Key: C
major. English. Kyle
Pederson.
Original.
Stars was
born out of a life-long
fascination with the
night sky, and the text
is a meditation on the
interconnectedness of
creation. The light from
distant stars takes eons
to reach our eyes,
connecting us with an
ancient past. Many
elements that comprise
our bodies were cast out
of stars million years
ago. Since we are the
stuff of stars, where
will we cast our own
light? Whose world will
we impact? Harmonically,
the piece seeks to evoke
the vastness and mystery
of space, simultaneously
capturing the intimacy of
connection. Stars
Legacies of light Ages
ago, you spun light into
the bleak Ancient light
falls on my eye And I? A
star sacred stellar dust
casting light out through
time In whose sky will my
light fall?
 . Stars was born
out of a life-long
fascination with the
night sky, and the text
is a meditation on the
interconnectedness of
creation. The light
from distant stars takes
eons to reach our eyes,
connecting us with an
ancient past. Many
elements that comprise
our bodies were cast out
of stars million years
ago. Since we are the
stuff of stars, where
will we cast our own
light? Whose world will
we impact?Harmonically,
the piece seeks to evoke
the vastness and mystery
of space, simultaneously
capturing the intimacy of
connection.StarsLegacies
of lightAges ago, you
spun light into the
bleakAncient light falls
on my eyeAnd I?A
starsacred stellar
dustcasting light out
through timeIn whose sky
will my light fall?