The Return of Ulysse. By Claudio Monteverdi. Edited by Alessandrini, Rinaldo. Li...(+)
The Return of Ulysse. By
Claudio Monteverdi.
Edited by Alessandrini,
Rinaldo. Libretto:
Giacomo Badoaro. For Alto
Solo (3), Bass Solo (3),
Soprano Solo (6), Tenor
Solo (7), Choir, Violin
(2), Viola (2), Basso
Continuo. This edition:
Urtext Edition. Tragedia
di lieto fine in un
prologo e tre atti. Piano
Reduction/Vocal Score.
238 pages. Published by
Baerenreiter Verlag
(German import).
The Return of Ulysse. By Claudio Monteverdi. Edited by Alessandrini, Rinaldo. Fo...(+)
The Return of Ulysse. By
Claudio Monteverdi.
Edited by Alessandrini,
Rinaldo. For 2 Violin, 2
Violas, Basso Continuo,
Choir. This edition:
Urtext Edition. Score.
160 pages. Published by
Baerenreiter Verlag
(German import).
The Spirit of the Sequoia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Anglo Music
The Spirit of the Sequoia (Grade 4 - Score and Parts). By Philip Sparke (1951-)....(+)
The Spirit of the Sequoia
(Grade 4 - Score and
Parts). By Philip Sparke
(1951-). For Concert
Band. Anglo Music Concert
Band. Grade 4. Anglo
Music Press #AMP067.
Published by Anglo Music
Press
And Still, the Spirit Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
(Easier Version of Spirit of the Sequoia). Composed by Philip Sparke (195...(+)
(Easier Version of
Spirit of the
Sequoia). Composed by
Philip Sparke (1951-). De
Haske Concert Band.
Festival. Softcover.
Published by De Haske
Publications
(HL.44012829).
Grade
4 - Score Only.
Composed by Philip
Sparke. Anglo Music
Concert Band. Concert
Piece. Score Only.
Composed 2004. 28 pages.
Anglo Music Press
#AMP067. Published by
Anglo Music Press
(HL.44004957).
UPC:
073999693393.
8.5x11.0x0.073
inches.
The
commissioner of this work
requested a piece that
characterized humankind's
ability to overcome
personal tragedy, a
scenario which often
leaves one with a
philosophy of serenity.
The composer decided to
use the analogy of the
sequoia, a generic name
for the huge redwood
trees, particularly the
Californian redwood. The
remarkable life cycle of
these amazing trees
involves them dropping
seeds to the ground which
require heat to open
their shells and
germinate. The redwood
forests are frequently
subject to fires which
can destroy the mother
tree but ironically also
provide the impetus for
their seeds to spring
into life; the trees
actually need a disaster
to procreate. In a
similar way, the human
spirit can actually gain
from setbacks - we become
stronger after adversity.
The music falls into
sections which can
broadly be characterised
as doubt, conflict,
catharsis, inner calm
and, finally,
triumph.
Composed by Rhian Samuel.
Chamber music. For High
Voice, String Quartet and
Piano. Score (2 copies
supplied) and parts.
Score and parts. Stainer
& Bell Ltd. #Y296.
Published by Stainer &
Bell Ltd. (ST.Y296).
ISBN
9790220223525.
Natu
re and landscape have
been the dominant themes
of much of Rhian Samuel's
vocal music of the last
ten years, projected
chiefly through the
poetry of Anne Stevenson,
and in her most recent
song-settings, the
writings of the
Pakistan-born Texas-based
poet Zulfikar Ghose. His
poem 'Conspiracy of the
Clouds' describes how,
the clouds having chosen
to become invisible,
'Even the astronauts on
the space shuttle /
looked down on a
cloudless America' as
hurricanes ravage
Louisiana and storms
engulf Nebraska. An
intriguing conceit in the
tradition of magic
realism, the text is
presented as a scena
lasting around 16
minutes, with
interpolations from
'Haze' by the
nineteenth-century New
England transcendentalist
Henry David Thoreau. Thus
modern fable and romantic
nature-description are
juxtaposed, and their
interaction becomes the
source of musical
contrasts too. Thoreau's
words are assigned
predominantly to the
vocalist's highest
register, those of Ghose
to her lower tessitura;
and the suggestive and
dramatic accompaniment
builds tension steadily
to the final ironic
response of an
incredulous American
public: not one of awe
and wonder, but the
question 'Why weren't we
told about it?