Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Composed by Travis
Weller. Yps. Set of Score
and Parts.
16+4+8+8+4+4+6+4+4+4+8+8+
6+6+6+4+6+4+2+4+2+4+24
pages. Duration 2
minutes, 18 seconds. Carl
Fischer Music #YPS252.
Published by Carl Fischer
Music (CF.YPS252).
ISBN 9781491161357.
UPC:
680160919949.
A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed to
the composer's office
door: Today is the
greatest day of your
life, if you want it to
be. Why not look forward
to the Promise on the
Horizon and the
possibilities for
greatness that lie within
it? The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice - do we choose to
let circumstances define
us, or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. A new
day. A new event. A new
opportunity. We look
forward to these things
and the potential they
hold. We live our lives
looking forward, but we
understand them looking
backward (a thought of
Danish philosopher Soren
Kierkegaard). We do not
always know what the
future may hold, but we
must remember: first,Â
there are no guarantees
beyond the time and
opportunity we are given
to do good. Second,
change around us is
inevitable. Finally, and
the most important
aspect, we have choices.
This lesson is fixed
to the composer's office
door: “Today is the
greatest day of your
life, if you want it to
be.†Why not look
forward to the Promise on
the Horizon and the
possibilities for
greatness that lie within
it?The opening motif of
this concert fanfare is
purposely inquisitive as
the piece seeks to
establish its first
steps. The subtle shift
at measure 37 and again
at measure 69 are
reminders of the
challenges that await us
during the journey. Here
again it is a matter of
choice – do we
choose to let
circumstances define us,
or do we define the
circumstances? The
section at 93 is a
resounding answer that we
will move barriers,
overcome obstacles and
keep our vision looking
forward. The piece builds
toward an exciting
conclusion from measure
127 onward. The piece
reinforces several basic
rhythmic patterns in 6/8
time. As a number of
these rhythms are
repeated, it provides an
easy opportunity for the
entire ensemble to grow
more comfortable
performing in this meter.
While it is a
fanfare-type piece,
remind young musicians to
play with lightness and
precision, rather than
intensity in volume.
Maintaining this style of
articulation and accuracy
helps the rhythms in 6/8
time maintain their
buoyancy. It is vital
that each musician
listens for the melody
and balances their part,
especially in moments
where the melody is
passed between sections.
If vibes are not
available, a second bell
set can be employed in
its place. It is hoped
that this piece is an
uplifting way to open
your next concert, and a
meaningful opportunity
for you to discuss the
power of making positive
choices with your
students in the ensemble
(as a reminder, regular
practicing of their
instrument is a positive
choice). Wishing you and
your ensemble well as you
look to the Promise on
the Horizon. .
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
Orchestra Concert Band SKU: PR.44641256L For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.44641256L
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
28 pages. Duration 12
minutes. Theodore Presser
Company #446-41256L.
Published by Theodore
Presser Company
(PR.44641256L).
UPC:
680160596010. 11 x 17
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Orchestra Concert Band SKU: PR.446412560 For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.446412560
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version. Sws.
Contemporary. Full score.
With Standard notation.
Composed 2010. 28 pages.
Duration 12 minutes.
Theodore Presser Company
#446-41256. Published by
Theodore Presser Company
(PR.446412560).
ISBN
9781598063738. UPC:
680160596003. 9x12
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lacko...(+)
(An Inspiring Method to
Playing the Drums, Guided
by the Legends). By Rich
Lackowski. For Drumset.
Artist/Personality; Book;
DVD; Method/Instruction;
Percussion - Drum Set
Method or Collection. On
the Beaten Path.
Beginner. 136 pages.
Published by Alfred Music
Publishing
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5
SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75).
ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major.
When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others .
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Chamber Music Cello, Piano, Violin SKU: PR.114423360 Composed by Stacy Ga...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.114423360
Composed
by Stacy Garrop. Set of
Score and Parts. 24+12+12
pages. Duration 8:30.
Theodore Presser Company
#114-42336. Published by
Theodore Presser Company
(PR.114423360).
UPC:
680160686285.
When
the Newport Music
Festival commissioned me
for a piano trio in honor
of their 2021 season, I
looked for a topic that
would celebrate an aspect
of the Newport community.
While researching the
area, I was struck by the
nine lighthouses situated
around the island. The
dual nature of
lighthouses was
particularly appealing to
me: not only do they
serve a vital role in the
navigation of ships
around rocks and land,
but they are also a
beautiful sight,
particularly at night
when their blinking
beacons are clearly
visible to the eye. It
occurred to me that
lighthouses link the past
with the present, and
will endure long into the
future, with their
beacons serving the same
purpose for every
generation.I became
fascinated with the
lighthouse on the
property of Castle Hill
Inn, located at the
opening of the East
Passage of the
Narragansett Bay. This
squat thirty-four foot
granite structure was
erected in 1890 on a very
picturesque spot, right
at the water’s
edge. Its
“characteristic,â
the nautical term
for each
lighthouse’s
unique light sequence
that allows ships to
identify the lighthouse,
is to alternate on for
three seconds, then off
for three seconds. The
lighthouse has also
served as the starting
and finish line for
numerous high profile
yacht races, as well as
survived a massive
hurricane in 1938, though
the lighthouse
keeper’s nearby
residence wasn’t
so lucky. American
novelist Thornton Wilder
wrote much of his 1973
novel Theophilus North
while staying at the
Castle Hill Inn; a
passage from the book
perfectly captures the
dual nature of
lighthouses:“At a
later visit I was able to
engage the pentagonal
room in a turret above
the house; from that
magical room I could see
at night the beacons of
six lighthouses and hear
the booming and chiming
of as many sea
buoys.â€In Beacon of
the Bay, we first hear
the lighthouse’s
characteristic as its
ruby light blinks on and
off. This is followed by
a simple theme that
represents the lighthouse
performing its solitary
duty. As the piece
progresses, we hear waves
playfully lapping around
its base, then yachts
gracefully floating by;
this is followed by a
violent storm that churns
the waves with so much
force that they crash
against the
lighthouse’s
granite body. But the
steadfast lighthouse
holds firm to the rocks,
grandly blinking its ruby
light. The music quiets
back down to its simple
theme, with yachts
sailing by once more as
the piece concludes.
Sanctuary Piano Trio: piano, violon, violoncelle Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.114418250
Composed
by Stacy Garrop.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2013. 40+16+16
pages. Duration 23
minutes. Theodore Presser
Company #114-41825.
Published by Theodore
Presser Company
(PR.114418250).
UPC:
680160640959. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
Sanctuary Piano Trio: piano, violon, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano
SKU:
PR.11441825S
Composed
by Stacy Garrop.
Contemporary. Score. With
Standard notation.
Composed 2013. 40 pages.
Duration 23 minutes.
Theodore Presser Company
#114-41825S. Published by
Theodore Presser Company
(PR.11441825S).
UPC:
680160643745. 9 x 12
inches.
In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G.
