Composed by Artie Almeida. Classroom Music. Poster. Lorenz Publishing Company #75/1062H. Published by Lorenz Publishing Company (LO.75-1062H).

Concert Band (Score)

SKU: HL.4002119

Full Score. Composed by Steven Bryant. Steve Bryant. 22 pages. Published by Hal Leonard (HL.4002119).

UPC: 073999263251. 11x17 inches.

This large-scale three-movement work, commissioned by Ray Cramer and the Indiana University Wind Ensemble, embodies the transformation of silence into sound. The opening movement is sparse, utilizing mallet percussion, harp, and piano to create a floating sense of timelessness. Featuring extensive solo flute, this floating texture gradually builds over several minutes, ultimately launching itself into a grandiose, warm, harmonically consonant blanket of sound. The second movement continues the focus on solo flute, and again opens slowly, gradually gaining momentum, but at a faster pace than in the first movement. The music spirals upward and outward, but instead of reaching a plateau, winds itself out and comes to a grinding halt in the upper range of the ensemble. Five brief, solemn chords conclude the movement, which immediately erupts into Movement III, music of unceasing, unsettling, motion, propelled by a driving ostinato which is repeatedly interrupted by bittersweet moments of lyricism, all the while pushing toward an unforgiving climax. The movements may also be performed separately. There is no explicit narrative to the piece, though many particular elements do have personal quasi-biographical significance. Ultimately, this is music of both personal and musical transformation.

NO TE: This work is available as a rental item directly from the composer. For details, e-mail rental@stevenbryant.com. The score is also available separately for purchase from Hal Leonard.

Soprano voice, tenor voice and piano or piano alone (SGST/KL)

SKU: HL.49030396

Version for two voices and piano or piano alone. Composed by Percy Aldridge Grainger. This edition: Saddle stitching. Sheet music. Edition Schott. Score. Composed 1905/1911. 12 pages. Duration 6'. Schott Music #ED 12525. Published by Schott Music (HL.49030396).

ISBN 9790220122743. 9.0x12.0x0.067 inches. Vocalise.

No traditional tunes of any kind are made use of in this piece, in which I have wished to express my personal feelings about my own country (Australia) and people, and also to voice a certain kind of emotion that seems to me not untypical of native-born Colonials in general.Perhaps it is not unnatural that people living more or less lonelily in vast virgin countries and struggling against natural and climatic hardships (rather than against the more actively and dramaticly exciting counter wills of their fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twains Huckleberry Finn, and Stephen C. Foster's adorable songs, My Old Kentucky Home, Old Folks at Home, etc. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.Percy Aldridge Grainger.

Mixed choir

SKU: FG.55011-857-7

Composed by Žibuoklė Martinaitytė. Classical, contemporary. Book. Fennica Gehrman #55011-857-7. Published by Fennica Gehrman (FG.55011-857-7).

Žibuoklė Martinaitytė tells about the background of Aletheia (2022) for mixed choir (SSSSAAAATTTTBBBB): Aletheia is variously translated from Greek as unconcealedness, revealing or unclosedness. It is uncovering of the Truth - the one we are afraid to face, the truth that can only be expressed directly through the pre-verbal communication. How do you find words for the horrors of the war, for all unimaginable global atrocities? How do you even allow yourself to feel it out? Solely through art, through music that offer a safe space and a formalized framework for processing these accumulated complex emotions and sharing them with others in a moment. This piece has no verbal text and it is based on various combinations of vowels and consonants, thus connecting us on a deeper level through the immediate emotional experience.

The war in Ukraine in spring of 2022 had an impact on all of us and shattered my deeply rooted Lithuanian identity. When the freedom is threatened and innocent people are dying, it is hard to make sense out of the reality. Yet there is poetry even in the worst nightmares. I was imagining that the only instrument people have even in situations of destruction, in the midst of the war, is their VOICE. It brought back memories of my youth when Singing revolution was taking place in the Baltic countries. Human voice was the only weapon that people used to express their determination for freedom and independence. Voice is our first and the very last instrument we have in our lifetime. Thinking in these terms brings almost a sacred dimension to the voice as an expression of the life itself - from the very first baby's scream until the last breath and whisper.

Duration c. 15'

The works of New York -based Lithuanian composer Žibuoklė Martinaitytė (b. 1973) have been lauded as breathtaking and profoundly moving. Her stimulating music bristles with energy and tension and revolves often around the subject of beauty, which she calls both a guiding principle and an aesthetic measure for sonic quality.

Composed by Gwyneth W. Walker (1947-). For SATB choir and piano. General, Secular, 21st Century. Moderately Easy. Octavo. Published by E.C. Schirmer Publishing

Composed by Mark Siebert. A mainly homophonic setting of the text Vere languores ( Surely he hath borne our infirmities ) which uses a variety of dynamics to portray the drama of the lyrics. This is an effective contemporary addition to any SATB choir's Holy Week repertoire! Lent, Triduum. Published by CanticaNOVA Publications (C5.5026).