Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
Composed by
Joseph Compello. Primer
Band. Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+2
+3+1+1+2+3+12 pages.
Duration 1 minute, 20
seconds. Carl Fischer
Music #PPS20. Published
by Carl Fischer Music
(CF.PPS20).
ISBN
9780825895395. UPC:
798408095390. 9 x 12
inches.
This piece
for the youngest students
depicts wide open spaces,
rugged terrain, and
covered wagons heading
West through the American
plains. Students will
love to play this contest
selection, written in a
minor mode. It will make
them sound more mature
than their experience as
the piece can be
performed with as little
as 10 weeks of study.
Composed by
Joseph Compello. Primer
Band. Full score. With
Standard notation. 12
pages. Duration 1 minute,
20 seconds. Carl Fischer
Music #PPS20F. Published
by Carl Fischer Music
(CF.PPS20F).
ISBN
9780825896019. UPC:
798408096014. 9 x 12
inches.
This piece
for the youngest students
depicts wide open spaces,
rugged terrain, and
covered wagons heading
West through the American
plains. Students will
love to play this contest
selection, written in a
minor mode. It will make
themsound more mature
than their experience as
the piece can be
performed with as little
as 10 weeks of study.
Composed by Various.
Arranged by Kiyo
Watanabe. Published by
Laurendale Associates
(JF.MLAHB1128).
UPC:
765844005498.
Di
vinum mysterium
(Christmas), Pange
lingua (Holy Week),
Victimae Paschali
laudes (Easter) and
Veni Creator
Spiritus (Pentecost)
are the plainsongs
arranged in this
resourceful folio.
Ranging in performance
time from 1:50 - 3:00,
these selections work
well to fill in the
niches in seasonal
services.
Choir Sacred (SATB choir) SKU: AP.12-0571522149 For Unaccompanied Mixe...(+)
Choir Sacred (SATB choir)
SKU:
AP.12-0571522149
For Unaccompanied
Mixed Choir or 16 Solo
Voices. Composed by
Jonathan Harvey.
Performance Music
Ensemble; Single Titles.
Faber Edition. Sacred.
Choral Octavo. Faber
Music #12-0571522149.
Published by Faber Music
(AP.12-0571522149).
ISBN 9780571522149.
Lat.
Predominantly
hushed and serene,
Plainsongs for Peace and
Light proved to be
Jonathan Harvey's final
work. It sees Harvey
reexamining the very
fundamentals of his
craft, superimposing
lines of plainsong,
relishing the simple
clash of note against
note, and creating rich,
otherworldly sonorities
through an elaborate use
of canon. Harvey was a
composer who always
embraced and sought out
the very latest in
musical technologies but
the simplicity of the a
cappella choir became
something of a constant
to which he returned
throughout his life. The
piece is for mixed voices
of SATB in 16 parts.
Prairie Lullaby Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Carl Fischer
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5 Composed by Joseph Comp...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5
Composed by Joseph
Compello. SWS - FS. Carl
Fischer Beginning String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
12+8+8+5+5+5+3+2 pages.
Duration 2:30. Carl
Fischer Music #BAS5.
Published by Carl Fischer
Music (CF.BAS5).
ISBN
9780825845086. UPC:
798408045081. 8.5 X 11
inches. Key: D
major.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect ofA Prarie
LullabyA should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close toA p as
possible. Beginning at
m.39, the violin and
viola parts are markedA
pizzicato. If
young players are unable
to return quickly toA
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. TheA
divisiA notes at
m. 69 are provided for
ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes. Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If
young players are unable
to return quickly to
argo at m.53,
they may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie Lullaby
should be graceful and
serene, evocative of a
peaceful night on the
open plains. To that end,
players will need to
strive for an unlabored
rhythmic flow, smooth
bowing and a clear,
steady tone as close to p
as possible. Beginning at
m.39, the violin and
viola parts are marked
pizzicato. If young
players are unable to
return quickly to argo at
m.53, they may make the
bow preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and score. The divisi
notes at m. 69 are
provided for ensembles
which lack violas.
Ensembles with violas may
have them play the lower
notes while the second
violins play the upper
notes. Percussion, which
is completely optional,
should be very subdued.
Choose a bell mallet
which allows the tones to
be heard just above the
strings. the woodblock
part is intended to
imitate the clip-clop
sound of a horse's
hooves. Two different
sizes of woodblocks or
temple blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead. The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54. Performance time
with the repeat is two
and a half
minutes. The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Life Chorale SSAATTBB SSAATTBB, Piano Carl Fischer
Choral SSAATTBB choir, Piano (for rehearsal) SKU: CF.CM9738 Composed by J...(+)
Choral SSAATTBB choir,
Piano (for rehearsal)
SKU: CF.CM9738
Composed by Jacob
Narverud. 16 pages.
Duration 3 minutes. Carl
Fischer Music #CM9738.
Published by Carl Fischer
Music (CF.CM9738).
ISBN 9781491161180.
UPC: 680160919765. Key:
Eb major. English. Barter
by Sara
Teasdale.
Life has
loveliness to sell, All
beautiful and splendid
things, Blue waves
whitened on a cliff,
Soaring fire that sways
and sings, And children's
faces looking up Holding
wonder in a cup.
Life has loveliness to
sell, Music like a curve
of gold, Scent of pine
trees in the rain, Eyes
that love you, arms that
hold, And for your
spirit's still delight,
Holy thoughts that star
the night. Spend
all you have for
loveliness, Buy it and
never count the cost; For
one white singing hour of
peace Count many a year
of strife well lost, And
for a breath of ecstacy
Give all you have been,
or could be. --Barter
from Love Songs (1918) by
Sara Teasdale Sara
Teasdale (1884-1933) was
an American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to sell,
All beautiful and
splendid things, Blue
waves whitened on a
cliff, Soaring fire that
sways and sings, And
children's faces looking
up Holding wonder like a
cup. Life has
loveliness to sell, Music
like a curve of gold,
Scent of pine trees in
the rain, Eyes that love
you, arms that hold, And
for your spirit's still
delight, Holy thoughts
that star the night.
Spend all you have
for loveliness, Buy it
and never count the cost;
For one white singing
hour of peace Count many
a year of strife well
lost, And for a breath of
ecstacy Give all you have
been, or could be.
--Barter from Love Songs
(1918) by Sara Teasdale
Sara Teasdale (1884-1933)
was an American poet
whose short, personal
lyrics are noted for
their classical
simplicity and quiet
intensity. Teasdale was
born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman's changing
perspectives of beauty,
love, life, and death.
Jacob Narverud (b. 1986)
is an American composer,
arranger, and conductor.
A native Kansan, Jacob is
the Founder/Artistic
Director of the Tallgrass
Chamber Choir, a
professional ensemble of
musicians from across the
Great Plains. Dr.
Narverud is a frequent
guest lecturer at
universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels. Website:
jnarverud.com YouTube
& Spotify:
jacobnarverud. Life
has loveliness to
sell,All beautiful and
splendid things,Blue
waves whitened on a
cliff,Soaring fire that
sways and sings,And
children's faces looking
upHolding wonder like a
cup. Life has
loveliness to sell,Music
like a curve of
gold,Scent of pine trees
in the rain,Eyes that
love you, arms that
hold,And for your
spirit's still
delight,Holy thoughts
that star the
night. Spend all you
have for loveliness,Buy
it and never count the
cost;For one white
singing hour of
peaceCount many a year of
strife well lost,And for
a breath of ecstacyGive
all you have been, or
could
be.     Â
     Â
    Â
 —“Barter
†from Love Songs
(1918) by Sara
Teasdale Sara Teasdale
(1884-1933) was an
American poet whose
short, personal lyrics
are noted for their
classical simplicity and
quiet intensity. Teasdale
was born in St. Louis,
Missouri and traveled to
Chicago as a young woman,
where she grew acquainted
with Harriet Monroe and
the literary circle
around Poetry. Teasdale
wrote seven books of
poetry in her lifetime
and received public
admiration for her
well-crafted lyrical
poetry which centered on
a woman’s changing
perspectives of beauty,
love, life, and
death.Jacob Narverud (b.
1986) is an American
composer, arranger, and
conductor. A native
Kansan, Jacob is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble of musicians
from across the Great
Plains. Dr. Narverud is a
frequent guest lecturer
at universities and
conferences as well as an
active guest
conductor/clinician for
choral festivals and
all-state choirs across
the United States. Many
of his compositions are
publisher best sellers
and are performed
worldwide by choirs of
all levels.Website:
jnarverud.com  Â
    Â
YouTube & Spotify:
jacobnarverud.
For Flute Choir and Percussion. Composed by James Barnes. Southern Music. ...(+)
For Flute Choir and
Percussion. Composed by
James
Barnes. Southern Music.
Concert. Softcover.
Duration
420 seconds. Southern
Music
Company #SU564SC.
Published
by Southern Music Company
The Road to the West Fanfare [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Fanfare Band - Grade 4 SKU: BT.GOB-000808-020 Composed by Carl Wittrock. ...(+)
Fanfare Band - Grade 4
SKU:
BT.GOB-000808-020
Composed by Carl
Wittrock. Set (Score &
Parts). 62 pages. Gobelin
Music Publications #GOB
000808-020. Published by
Gobelin Music
Publications
(BT.GOB-000808-020).
As he did
before in the often
played and commonly
appreciated ‘Lord
Tullamore’, in which he
poetically depicted the
landscape and the
cultural elements of a
small Irish village, in
his composition ‘The
Road to the West’ Carl
Wittrock has sketched
pioneer existence in
America in a cinematic
manner. In ‘The Road
to the West’ the
composer has tried to
capture images of pioneer
life during the period
dating from 1850 to 1890,
the days of the so-called
Wild West. In those
days, the Wild West used
to be the territory west
of civilization, the
domain of cowboys,
trappers, and other
fortune hunters. In
short, ample ingredients
for a captivating
story.
In the
firstscene a lonely
adventurer struggles
against nature and the
elements. After an
exciting adventure he
passes through ‘the
Plains’, where majestic
views alternated by
colossal mountain ranges
display an almost
unimaginable
beauty. After weeks of
isolation civilization is
reached again. ‘The
Saloon’ is the perfect
meeting place here news
is exchanged and
hilarious scenes
regularly take place.
In navolging van
het veel gespeelde en
alom gewaardeerde ‘Lord
Tullamore’, waarin Carl
Wittrock op poëtische
wijze landschap en
culturele elementen van
een Iers dorpje
verklankt, wordt in
‘The Road to the
West’ op filmische
wijzehet pioniersbestaan
in Amerika
geschetst. De
componist betreedt in
‘The Road to the
West’ het pionierspad
in de periode tussen 1850
en 1890, de tijd van het
Wilde Westen. Het
Wilde Westen was het
gebied ten westen van de
beschaving,het domein van
cowboys, pelsjagers en
andere
gelukzoekers. Genoeg
ingrediënten voor een
boeiend
verhaal.
In de
eerste scene gaat een
avonturier, eenzaam en
alleen, de strijd aan met
de natuur en de
elementen. Na een
spannend avontuur trekt
hij door ‘the
Plains’, waar de weidse
vergezichten, afgewisseld
door kolossale
bergformaties een bijna
niet onder woorden te
brengen schoonheid
tentoonspreiden. Na
weken van eenzaamheid
komttenslotte de bewoonde
wereld weer in beeld.
‘The Saloon’ is de
ontmoetingsplek bij
uitstek. Hier worden
ervaringen uitgewisseld
en spelen zich vaak
hilarische taferelen
af.
A Winter's Tale Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-293-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-293-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2010.
Anglo Music Press #AMP
293-010. Published by
Anglo Music Press
(BT.AMP-293-010).
9x12
inches.
English-German-French-Dut
ch.
Bij dit
winterverhaal staat het
thema kerst eens n et
centraal. Vandaar dat u
A Winter’s
Tale net zo goed
rondom de kerstdagen als
ook bij andere concerten
in het winterseizoen kunt
uitvoeren. De muziek
geeft een beschrijvingvan
een winters tafereel op
het land: een
zonsondergang,
sprookjesachtig
besneeuwde landerijen en
bossen. In de verte
klinken de bellen van een
slee die langzaam maar
zeker naderbij komt. Maar
dan keert de rust weer
terug, terugin het
verstilde
landschap…
A
Winter’s Tale hat
keinen direkten Bezug zum
Thema Weihnachten, kann
also ebenso zu (vor-)
weihnachtlichen
Anlässen wie auch bei
anderen Konzerten im
Winterhalbjahr
aufgeführt werden.
Die Musik beschreibt eine
Winterszenerie auf dem
Lande: Ein stiller
Sonnenuntergang, tief
verschneite Felder und
Wälder, von ferne
klingen die Glöckchen
eines Schlittens, der
sich als Dreigespann
entpuppt, bevor zum
Schluss des Werkes wieder
Ruhe in die Szenerie
einkehrt.
Pony Express Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Chris M. Bernotas. Concert Band. Concert Band; SmartMusic. Young Symphonic. G...(+)
By Chris M. Bernotas.
Concert Band. Concert
Band; SmartMusic. Young
Symphonic. Grade 3.
Conductor Score and
Parts. 264 pages.
Published by Alfred Music
Publishing
Three elegies Piano seul [Conducteur] - Intermédiaire/avancé Furore Verlag
Piano solo - Level 4 SKU: FV.FUE-2600 Composed by Ruth Schonthal. Piano (...(+)
Piano solo - Level 4
SKU: FV.FUE-2600
Composed by Ruth
Schonthal. Piano
(Harpsichord), 2-hands.
Work premiere: February
1982 The Westchester
Concervatory of Music,
White Plains NY, Ruth
Schonthal, piano.
Instrumental Music. Full
score. Composed 1982.
Duration 6'. Furore
Verlag #FUE 2600.
Published by Furore
Verlag (FV.FUE-2600).
ISBN
979-0-50012-160-2.
Expresses sorrow in the
1st movement, anger in
the second and
reconcilation in the
third. Suitable for
lecture recitals,
memorial services or as a
recital piece. Grade
IV.
WP: February
1982 The Westchester
Concervatory of Music,
White Plains NY, Ruth
Schonthal,
piano
CONTENT 1
. Andante con moto, 2.
Allegro non troppo, 3.
Molto tranquillo.
The Road to the West Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000753-140 Composed by Carl W...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000753-140
Composed by Carl
Wittrock. Score Only.
Gobelin Music
Publications #GOB
000753-140. Published by
Gobelin Music
Publications
(BT.GOB-000753-140).
As he did
before in the often
played and commonly
appreciated ‘Lord
Tullamore’, in which he
poetically depicted the
landscape and the
cultural elements of a
small Irish village, in
his composition ‘The
Road to the West’ Carl
Wittrock has sketched
pioneer existence in
America in a cinematic
manner. In ‘The Road
to the West’ the
composer has tried to
capture images of pioneer
life during the period
dating from 1850 to 1890,
the days of the so-called
Wild West. In those
days, the Wild West used
to be the territory west
of civilization, the
domain of cowboys,
trappers, and other
fortune hunters. In
short, ample ingredients
for a captivating
story.
In the
firstscene a lonely
adventurer struggles
against nature and the
elements. After an
exciting adventure he
passes through ‘the
Plains’, where majestic
views alternated by
colossal mountain ranges
display an almost
unimaginable
beauty. After weeks of
isolation civilization is
reached again. ‘The
Saloon’ is the perfect
meeting place here news
is exchanged and
hilarious scenes
regularly take place.
In navolging van
het veel gespeelde en
alom gewaardeerde ‘Lord
Tullamore’, waarin Carl
Wittrock op poëtische
wijze landschap en
culturele elementen van
een Iers dorpje
verklankt, wordt in
‘The Road to the
West’ op filmische
wijzehet pioniersbestaan
in Amerika
geschetst. De
componist betreedt in
‘The Road to the
West’ het pionierspad
in de periode tussen 1850
en 1890, de tijd van het
Wilde Westen. Het
Wilde Westen was het
gebied ten westen van de
beschaving,het domein van
cowboys, pelsjagers en
andere
gelukzoekers. Genoeg
ingrediënten voor een
boeiend
verhaal.
In de
eerste scene gaat een
avonturier, eenzaam en
alleen, de strijd aan met
de natuur en de
elementen. Na een
spannend avontuur trekt
hij door ‘the
Plains’, waar de weidse
vergezichten, afgewisseld
door kolossale
bergformaties een bijna
niet onder woorden te
brengen schoonheid
tentoonspreiden. Na
weken van eenzaamheid
komttenslotte de bewoonde
wereld weer in beeld.
‘The Saloon’ is de
ontmoetingsplek bij
uitstek. Hier worden
ervaringen uitgewisseld
en spelen zich vaak
hilarische taferelen
af.