By Barry Gibb And John Farrar. Arranged by Michael Story. For Full Orchestra. Fu...(+)
By Barry Gibb And John
Farrar. Arranged by
Michael Story. For Full
Orchestra. Full
Orchestra. Pop
Intermediate Full
Orchestra. Movie.
Conductor Score. 28
pages. Published by
Alfred Publishing.
Level: 2.5 (grade
2.5).
Deluxe Score. Composed by Arthur Schwartz. Arranged by John Williams. John W...(+)
Deluxe Score. Composed by
Arthur Schwartz. Arranged
by
John Williams. John
Williams
Signature Edition
Orchestra.
Movies, Musicals.
Softcover.
28 pages. Published by
Hal
Leonard
By Fred Ebb And John Kander. Arranged by Victor Lopez. Words and music by Fred E...(+)
By Fred Ebb And John
Kander. Arranged by
Victor Lopez. Words and
music by Fred Ebb and
John Kander / arr. Victor
Lopez. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Conductor
Score and Parts. 142
pages. Duration 4:04.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
As recorded by Bruno Mars. Composed by Christopher Brown, Jeremy Reeves, J...(+)
As recorded by Bruno
Mars.
Composed by Christopher
Brown, Jeremy Reeves,
Jonathan Yip, Bruno Mars,
Philip Lawrence, James
Fauntleroy, Ray Romulus,
and
Ray McCollough II.
Arranged
by Michael Story. Full
Orchestra; Score. Pop
Intermediate String/Full
Orchestra. Light Concert;
Pop; Pop/Rock; Radio;
Rock.
12 pages. Published by
Alfred Music
By Fred Ebb And John Kander. Arranged by Victor Lopez. Words and music by Fred E...(+)
By Fred Ebb And John
Kander. Arranged by
Victor Lopez. Words and
music by Fred Ebb and
John Kander / arr. Victor
Lopez. For Full
Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Conductor
Score. 28 pages.
Published by Alfred
Publishing. Level:
3.5 (grade 3.5).
By John Farrar. Arranged by Douglas E. Wagner. For Full Orchestra. Full Orchestr...(+)
By John Farrar. Arranged
by Douglas E. Wagner. For
Full Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Pop.
Level: 3 (grade 3).
Conductor Score. 12
pages. Published by
Alfred Publishing.
Score and Parts. Composed by Arthur Schwartz. Arranged by John Williams. Joh...(+)
Score and Parts. Composed
by
Arthur Schwartz. Arranged
by
John Williams. John
Williams
Signature Edition
Orchestra.
Softcover. Published by
Hal
Leonard
By John Farrar. Arranged by Douglas E. Wagner. For Full Orchestra. Full Orchestr...(+)
By John Farrar. Arranged
by Douglas E. Wagner. For
Full Orchestra. Full
Orchestra. Pop Concert
Full Orchestra. Pop.
Level: 3 (grade 3).
Conductor Score & Parts.
55 pages. Published by
Alfred Publishing.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
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.
No. 2 from the
Symphonic Poem My
Fatherland. Composed
by Bedrich Smetana.
Edited by Milan Pospisil.
Softbound. Eulenburg
Orchestral Series.
Today, it is hard to
believe that Bedrich
Smetana kept receiving
rejections when he tried
to get his enormously
popular Moldau
printed.
Symphonic
poem; Romantic. Full
score. 84 pages. Duration
13'. Breitkopf and
Haertel #EOS 20472-00.
Published by Breitkopf
and Haertel
(BR.EOS-20472-00).
ISBN 9790004780008. 10
x 12.5
inches.
What is
also amazing is that the
first text-critical
edition prepared by the
Czech Smetana expert
Milan Pospisil in 1999,
which had entailed an
exhaustive evaluation of
the sources and been
given a full
text-critical editorial
treatment as a Eulenburg
study score, had no
resonance of any kind
among performers since no
performance material had
been published. After 15
years, Pospisils edition
is finally being
completed in a manner
suitable for practice:
with a conducting score
and orchestral parts
which will ensure that
all future performances
are based on a musical
text that is as reliable
as can
be.
The
work depicts the course
of the river Vltava,
beginning with its first
two sources, the cold and
warm Vltava, and the
confluence of the two
streams that join to form
a single river; then the
course of the Vltava
through forests and
meadows, and through open
countryside where a
peasant wedding is being
celebrated; water-sprites
dance by the light of the
moon; on the nearby
cliffs castles, mansions
and ruins rise proudly
into the air; the Vltava
eddies in the St John's
Rapids, then flows in a
broad stream as it
continues its course
towards Prague, where the
Vysehrad appears, before
the river finally
disappears into the
distance as it flows
majestically into the
Elbe.
Vltava
(The Moldau),
Smetana's best-known and
most frequently performed
orchestral work, was
written between 19
November and 8 December
1874, at a time when
Smetana was already
completely deaf. The
world premiere took place
in Prague on 4 April
1875, but the score was
not published until
1880.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: FG.55011-315-2 Composed by Kalevi Aho. Study score. Fennic...(+)
Orchestra
SKU:
FG.55011-315-2
Composed by Kalevi Aho.
Study score. Fennica
Gehrman #55011-315-2.
Published by Fennica
Gehrman (FG.55011-315-2).
ISBN
9790550113152.
The
Sieidi concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normal
ly, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
The Sieidi
concerto is in one
movement but divided into
several sections both
faster and slower, wildly
rhythmic, lyrical and
more static. For the
soloist it is extremely
demanding because he is
constantly having to
switch from one technique
to another - for djembe
and darabuka playing with
the hands differs
radically from that of
tom-tom or drumstick
technique or the playing
of pitched percussion
instruments such as the
marimba and
vibraphone.
Normally, in a percussion
concerto, the soloist has
to play surrounded by a
huge battery of
instruments, often behind
the orchestra. In Sieidi
he uses only nine
instruments, and he is in
front of the orchestra
the whole time. The
instruments are in a row
in front of the platform,
starting with the djembe
on the far right (as
viewed by the audience)
and ending with the
tam-tam on the far left.
The soloist plays only
one instrument at a
time.
The title
of the concerto, Sieidi,
is Sami - a language
spoken in the northern
region of Finland, Sweden
and Norway known as
Lapland. It denotes an
ancient cult place such
as an unusually-shaped
rock, sometimes also a
special rock face or even
a whole mountain
fell.
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Tempus Fugit Orchestre [Conducteur d'étude / Miniature] Boosey and Hawkes
Orchestra (Study Score) SKU: HL.48024683 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.48024683
Orchestra Study
Score. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 144
pages. Boosey & Hawkes
#M060135880. Published by
Boosey & Hawkes
(HL.48024683).
ISBN
9781784545062. UPC:
888680952570. 8.25x11.75
inches.
TEMPUS
FUGIT was commissioned to
celebrate the centenary
of Finnish independence
on 6 December 2017 and it
received its first
performance in Helsinki
on that day, given by the
Finnish Radio Symphony
Orchestra.
The
composer says that
“if you translate
TEMPUS FUGIT as 'Time
Flies', you could say
that Finland has
travelled a long way
already -but 100 years is
a short time-span, and
living as a human in this
part of the world started
long ago and, we hope,
will continue
formillennia to come.
This relates to my
fascination with Bernd
Alois Zimmermann's
concept of spherical time
- that the past, the
present and the future
are continuously linked
and within reach. You can
also examine the
inter-connection of
musical time in the
earlier works of
Stockhausen such as
Kontakte and Gruppen
which had a big impact on
me as a young composer. A
translation of TEMPUS
FUGIT that I prefer is
'Time in Flight',
offering the idea that
time escapes from us but
bequeaths a tangible
residue, rather like
aplane travelling towards
the distance but leaving
a visible vapour
trail.” This
30-minute score is a
major addition to the
orchestral repertory.
Full orchestra SKU: LO.30-3653L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3653L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Score and
parts, plus CD with
printable parts. Lorenz
Publishing Company
#30/3653L. Published by
Lorenz Publishing Company
(LO.30-3653L).
UPC:
000308152227.
Score
and parts plus CD with
printable parts for The
Body of Christ (55/1197L)
Pepper Choplin
beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3650L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3650L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Full score.
Lorenz Publishing Company
#30/3650L. Published by
Lorenz Publishing Company
(LO.30-3650L).
UPC:
000308152197.
Full
score for The Body of
Christ (55/1197L) Pepper
Choplin beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3651L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3651L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. Instrumental
parts. Lorenz Publishing
Company #30/3651L.
Published by Lorenz
Publishing Company
(LO.30-3651L).
UPC:
000308152203.
Set
of parts for The Body of
Christ (55/1197L) Pepper
Choplin beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Full orchestra SKU: LO.30-3652L Composed by Pepper Choplin. Arranged by M...(+)
Full orchestra
SKU:
LO.30-3652L
Composed
by Pepper Choplin.
Arranged by Michael
Lawrence. Choral,
cantatas. Eastertide,
Holy Week. CD with
printable parts. Lorenz
Publishing Company
#30/3652L. Published by
Lorenz Publishing Company
(LO.30-3652L).
UPC:
000308152210.
CD
with printable parts for
The Body of Christ
(55/1197L) Pepper Choplin
beautifully and
creatively crafted this
telling of the final days
of Jesus’ life,
focusing on the meaning
of His words and actions
leading to the cross.
With stunning melodies
and a powerful
orchestration by Michael
Lawrence, we reflect on
the feet that walked the
earth, the hands that
touched and healed, the
voice that spoke the Word
of God, and the head that
bore a crown of thorns as
Jesus was sacrificed.
From the worshipful
opener, We Behold His
Glory, to the meditative
and stunningly powerful
path to the cross, O
Sacred Journey, the
importance of
Christ’s body
remains the center point
of this work. The final
number, We Are the Body
of Christ, is a
benediction that can be
presented immediately
following the preceding
number or after closing
remarks from a speaker.
For Christ is our head
and though we are many,
His Spirit will make us
one…Go now as the
body of Christ..
Orchestra SKU: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: PR.41641572L For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.41641572L
For
Orchestra. Composed
by Narong Prangcharoen.
Large Score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572L. Published by
Theodore Presser Company
(PR.41641572L).
UPC:
680160636167.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra SKU: FG.55011-653-5 Composed by Antti Auvinen. Study score. Fen...(+)
Orchestra
SKU:
FG.55011-653-5
Composed by Antti
Auvinen. Study score.
Fennica Gehrman
#55011-653-5. Published
by Fennica Gehrman
(FG.55011-653-5).
ISBN
9790550116535.
Stan
ding recently on the
shore of the
Mediterranean Sea with a
child in his arms,
Auvinen was overwhelmed
with thoughts of refugees
attempting to cross the
sea and the images of a
drowned child that had
been shown on the news.
This work thus contains a
lot of elastic sound and
things that bend down,
grow slower and sink, but
also music that washes up
to the surface.
By Johann Sebastian Bach (1685-1750). Edited by Heinrich Besseler; Hans Gruss. F...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Heinrich Besseler; Hans
Gruss. For orchestra (3
trumpets/timpani/2
oboes/2
violins/viola/basso
continuo (cello/double
bass/harpsichord)). This
edition: Stapled, Urtext
edition. Score. Text
Language: German/English.
BWV 1068. 50 pages.
Duration 24'. Published
by Baerenreiter Verlag
Orchestra (Study Score) SKU: HL.49046988 Lyric Trilogy After Maurice M...(+)
Orchestra (Study Score)
SKU: HL.49046988
Lyric Trilogy After
Maurice Maeterlinck Study
Score, French.
Composed by Aribert
Reimann. Edition Schott.
Classical. Softcover. 280
pages. Duration 5400
seconds. Schott Music
#ED23491. Published by
Schott Music
(HL.49046988).
ISBN
9781705174333. UPC:
842819115281.
8.25x11.75x0.695
inches.
SYNOPSIS
Aribert Reimann's
'Trilogie lyrique' is
based on three plays by
Maurice Maeterlinck: In
L'Intruse, a family is
sitting at the table with
their blind grandfather.
They are waiting for the
doctor to arrive and tend
to his daughter who is
lying ill in bed after
having given birth: her
new-born son has not yet
made a single sound. The
old man senses that
something is wrong due to
the uneasy atmosphere in
the room. Who is sitting
in our midst? he asks. He
is the only one who
cansee the presence of
death. Interieur: Once
again a family is
gathered round the table
in the evening, but this
time we observe the
action from outside,
looking through the
window with the
grandfather and a
stranger: no sound can be
heard. Outside the house,
the stranger reports that
the eldest daughter has
drowned and that he has
pulled her out of the
river. Although the
corpse is already being
carried through the
village to the family,
the grandfather cannot
bring himself to destroy
this idyll. La Mort de
Tintagiles: The young
Tintagiles is told a
story about a mysterious
castle and the aged queen
who has all potential
heirsto the throne
murdered. His siblings
sense that Tintagiles has
been summoned to the
castle to be murdered,
but nobody openly
expresses this fact. It
is the sinister
messengers of death from
the interludes, now
visible as the queens
servants, who ful?l her
demand and snatch the
sleeping boy from his
sisters'arms. Commentary
'In comparison with his
Medea for example with
its stormy outbreaks of
emotion and violence,
Reimann's score is worked
in an impressive
refinement of sound. It
begins with rumbling,
hesitating and expressive
music in the first
section, demanding highly
ingenious sound effects
from the lower strings
including tapping and
faltering glissandos in
its noisy expression of
mortal fear. Inthe second
part, the woodwind
formation plays at times
almost in chamber music
fashion and is then
suddenly painfully
shrill. The third part
luxuriates and rages in
its rich, full
orchestration. The manner
in which Reimann displays
his mastery in textural
shading, the invention of
sounds welling up and
fading away, the rhythmic
and melodic capacity of
suffering and the music's
inner violence are all
utterly
compelling.'(Wolfgang
Schreiber, Opernwelt,
November 2017).
Orchestra SKU: LO.30-3245L Composed by Pepper Choplin. Arranged by Larry ...(+)
Orchestra
SKU:
LO.30-3245L
Composed
by Pepper Choplin.
Arranged by Larry
Shackley. Choral,
cantatas. Christmas.
Score and parts, plus CD
with printable parts.
Lorenz Publishing Company
#30/3245L. Published by
Lorenz Publishing Company
(LO.30-3245L).
UPC:
000308142471.
One
Silent Night long ago, a
birth story began that
forever changed the
world. Lying in a crude
manger was a new-born
babe, who would become
the Source of our
Christian faith and our
abiding hope. Using the
power and simplicity of
the event itself,
composer and creator
Pepper Choplin presents
each of the familiar
elements of that story
through ballad-like
recitatives of scripture,
surrounded by anthems
ranging from outbursts of
unbridled joy to moving
moments of introspection
and gentleness. Weaving
familiar carols and songs
throughout original
music, this timeless tale
emerges in a deeply
moving presentation that
will lift one’s
faith and deepen
one’s
understanding of the
profound significance of
that One Silent Night.
Orchestration by Larry
Shackley for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, 2 Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.
Orchestra SKU: LO.30-3243L Composed by Pepper Choplin. Arranged by Larry ...(+)
Orchestra
SKU:
LO.30-3243L
Composed
by Pepper Choplin.
Arranged by Larry
Shackley. Choral,
cantatas. Christmas.
Instrumental parts.
Lorenz Publishing Company
#30/3243L. Published by
Lorenz Publishing Company
(LO.30-3243L).
UPC:
000308142457.
One
Silent Night long ago, a
birth story began that
forever changed the
world. Lying in a crude
manger was a new-born
babe, who would become
the Source of our
Christian faith and our
abiding hope. Using the
power and simplicity of
the event itself,
composer and creator
Pepper Choplin presents
each of the familiar
elements of that story
through ballad-like
recitatives of scripture,
surrounded by anthems
ranging from outbursts of
unbridled joy to moving
moments of introspection
and gentleness. Weaving
familiar carols and songs
throughout original
music, this timeless tale
emerges in a deeply
moving presentation that
will lift one’s
faith and deepen
one’s
understanding of the
profound significance of
that One Silent Night.
Orchestration by Larry
Shackley for 2 Fl, Ob, 2
Cl, Bsn (sub Bass Cl), 2
Hn (sub 2 A Sax), 3 Tpt,
2 Tbn (sub 2 T Sax),
Tuba, 2 Perc, Timp, Harp,
Pno, 2 Vln, Vla, Cello,
Bass, Digital
Strings.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.