Composed by English
Carol. Arranged by Ken
Berg. Fold. Performance
Score. 12 pages. Duration
3 minutes, 52 seconds.
Carl Fischer Music
#CM9578. Published by
Carl Fischer Music
(CF.CM9578).
ISBN
9781491154007. UPC:
680160912506. 6.875 x
10.5 inches. Key: E
minor. English. William
C. Dix.
This is a
very well known and
beloved tune dating from
the time of Henry the
VIII in Britain.
Therefore, there are lots
of slight variations in
how people have learned
this tune. Please be very
careful to make sure all
singers agree on the
notes actually written.
This will make the
singers the listeners
much more comfortable
with your performance.
The consonant combination
th is very difficult for
listeners to hear.
Singers should work
diligently to be very
intentional to articulate
the text throughout. The
verses are all built in
two similar four-measure
phrases. Even though the
destinations are
different, both phrases
end with echo words.
Therefore, please be
careful to sing the
second syllable softer
than the first. For
example,sleep-ing,
keep-ing, in the verses.
In the repeated refrains,
please sing Ma-ry in the
same way; it too is an
echo word. To bring laud
is to bring praise and
adoration. A mean estate
does not equal angry; it
refers to a place of
poverty. Part of the
reason this is such a
well-known and beloved
tune is that it is very
singable and very lovely.
Therefore, when you sing
it, always work toward
making your very best
sound and very best face.
You will enjoy your
performance more and so
will your
listeners. This is a
very well known and
beloved tune dating from
the time of Henry the
VIII in Britain.
Therefore, there are lots
of slight variations in
how people have learned
this tune. Please be very
careful to make sure all
singers agree on the
notes actually written.
This will make the
singersA the listeners
much more comfortable
with your performance.
The consonant combination
th is very difficult for
listeners to hear.
Singers should work
diligently to be very
intentional to articulate
the text throughout. The
verses are all built in
two similar four-measure
phrases. Even though the
destinations are
different, both phrases
end with echo words.
Therefore, please be
careful to sing the
second syllable softer
than the first. For
example,sleep-ing,
keep-ing, in the verses.
In the repeated refrains,
please sing Ma-ry in the
same way; it too is an
echo word. To bring laud
is to bring praise and
adoration. A mean estate
does not equal angry; it
refers to a place of
poverty. Part of the
reason this is such a
well-known and beloved
tune is that it is very
singable and very lovely.
Therefore, when you sing
it, always work toward
making your very best
sound and very best face.
You will enjoy your
performance more and so
will your
listeners. This is a
very well known and
beloved tune dating from
the time of Henry the
VIII in Britain.
Therefore, there are lots
of slight variations in
how people have learned
this tune. Please be very
careful to make sure all
singers agree on the
notes actually written.
This will make the
singersA the listeners
much more comfortable
with your performance.
The consonant combination
th is very difficult for
listeners to hear.
Singers should work
diligently to be very
intentional to articulate
the text throughout. The
verses are all built in
two similar four-measure
phrases. Even though the
destinations are
different, both phrases
end with echo words.
Therefore, please be
careful to sing the
second syllable softer
than the first. For
example,sleep-ing,
keep-ing, in the verses.
In the repeated refrains,
please sing Ma-ry in the
same way; it too is an
echo word. To bring laud
is to bring praise and
adoration. A mean estate
does not equal angry; it
refers to a place of
poverty. Part of the
reason this is such a
well-known and beloved
tune is that it is very
singable and very lovely.
Therefore, when you sing
it, always work toward
making your very best
sound and very best face.
You will enjoy your
performance more and so
will your
listeners. This is a
very well known and
beloved tune dating from
the time of Henry the
VIII in Britain.
Therefore, there are lots
of slight variations in
how people have learned
this tune. Please be very
careful to make sure all
singers agree on the
notes actually written.
This will make the
singers the listeners
much more comfortable
with your performance.
The consonant combination
th is very difficult for
listeners to hear.
Singers should work
diligently to be very
intentional to articulate
the text throughout. The
verses are all built in
two similar four-measure
phrases. Even though the
destinations are
different, both phrases
end with echo words.
Therefore, please be
careful to sing the
second syllable softer
than the first. For
example,sleep-ing,
keep-ing, in the verses.
In the repeated refrains,
please sing Ma-ry in the
same way; it too is an
echo word. To bring laud
is to bring praise and
adoration. A mean estate
does not equal angry; it
refers to a place of
poverty. Part of the
reason this is such a
well-known and beloved
tune is that it is very
singable and very lovely.
Therefore, when you sing
it, always work toward
making your very best
sound and very best face.
You will enjoy your
performance more and so
will your
listeners. This is a
very well known and
beloved tune dating from
the time of Henry the
VIII in Britain.
Therefore, there are lots
of slight variations in
how people have learned
this tune. Please be very
careful to make sureall
singers agree on the
notes actually written.
This will make the
singers the listeners
much more comfortable
with your performance.The
consonant combination th
is very difficult for
listeners to hear.
Singers should work
diligently to be very
intentional to articulate
the text throughout.The
verses are all built in
two similar four-measure
phrases. Even though the
destinations are
different, both phrases
end with echo words.
Therefore, please be
careful to sing the
second syllable softer
than the first. For
example,sleep-ing,
keep-ing, in the verses.
In the repeated refrains,
please sing Ma-ry in the
same way; it too is an
echo word.To bring laud
is to bring praise and
adoration. A mean estate
does not equal angry; it
refers to a place of
poverty.Part of the
reason this is such a
well-known and beloved
tune is that it is very
singable and very lovely.
Therefore, when you sing
it, always work toward
making your very best
sound and very best face.
You will enjoy your
performance more and so
will your listeners.
Choral SATB choir SKU: CF.CM9606 Composed by Paul Salerni. Fold. Performa...(+)
Choral SATB choir
SKU:
CF.CM9606
Composed by
Paul Salerni. Fold.
Performance. 8 pages.
Duration 3 minutes, 17
seconds. Carl Fischer
Music #CM9606. Published
by Carl Fischer Music
(CF.CM9606).
ISBN
9781491154281. UPC:
680160912780. 6.875 x
10.5 inches. Key: C
major. English. Charles
A. Coffin
(1844-1926).
Be
thlehem Carol was
the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedrals music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedralas music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for athe cave of
Bethlehema and athe child
of poverty.a)A But most
of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child. Bethlehem
Carol was the result
of a commission in 2000
from the Cathedral Church
of the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian
Fable cum Violin
Concerto (The Big
Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral's music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for the cave of
Bethlehem and the child
of poverty.) But most of
all, I wanted to capture
the sense of joy and
peace brought by the
arrival of the Christ
Child. Bethlehem Carol
was the result of a
commission in 2000 from
the Cathedral Church of
the Nativity in
Bethlehem, Pennsylvania.
The request came from the
Cathedral’s music
director, Russell
Jackson; he had very much
liked the Italian Fable
cum Violin Concerto (The
Big Sword and the Little
Broom) I had written in
1997 for the Lehigh
Valley Chamber Orchestra.
Russell chose the text by
Charles Coffin, a French
poet and educator whose
hymn verses were often
translated into English.
My approach toward
setting the poem was my
usual one; that is, to
translate literally the
words into music (note
the dips into the minor
mode for “the cave
of Bethlehem†and
“the child of
poverty.â€) But
most of all, I wanted to
capture the sense of joy
and peace brought by the
arrival of the Christ
Child.
String Quartet No. 4 Quatuor à cordes: 2 violons, alto, violoncelle Carl Fischer
Chamber Music String Quartet SKU: CF.BE24 The Planet on the Table....(+)
Chamber Music String
Quartet
SKU:
CF.BE24
The Planet
on the Table.
Composed by Martin
Bresnick. Folio. Set of
Score and Parts.
48+20+16+16+16 pages.
Duration 32 minutes. Carl
Fischer Music #BE24.
Published by Carl Fischer
Music (CF.BE24).
ISBN
9781491156780. UPC:
680160915323. 9 x 12
inches. La.
Based
on Wallace Stevens' poem
The Planet on the Table
this string quartet's
world is made of the
music and sounds of
remembered times or of
something heard that the
composer, Martin
Bresnick, liked. The
quartet has five
movements, each headed by
a quotation from one of
Stevens' poems as a point
of departure or pathway
into those remembered
sounds and music. What
matters is that my music,
like his (Stevens')
poetry, should bear some
lineament or character,
some affluence, if only
half perceived in the
poverty of its sounds, of
the planet of which it
was part.. Wallace
Stevens' poem The Planet
on the Table begins -
Ariel was glad he had
written his poems, They
were of a remembered time
Or of something seen that
he liked. In this string
quartet, also entitled
The Planet on the Table,
my planet is made of the
music and sounds of a
remembered time or of
something heard that I
liked. The quartet has
five movements, each
headed by a quotation
from one of Stevens'
poems* as a point of
departure or pathway into
those remembered sounds
and music: I. Mrs.
Anderson's Swedish Baby
II. She Measured the Hour
III. Scene 10 Becomes 11
IV. Someone Has Walked
Across the Snow V. His
Self and the Sun Like
Stevens, my self and the
sun are one, and my
music, like his poetry,
although makings of my
self, is also makings of
the sun. Stevens wrote it
was not important that
his poetry survive, which
is also true of my work.
What matters is that my
music, like his poetry,
should bear some
lineament or character,
some affluence, if only
half perceived in the
poverty of its sounds, of
the planet of which it
was part. *Sources for
the titles: I. The
Pleasures of Merely
Circulating II. The Idea
of Order at Key West III.
Chaos in Motion and Not
in Motion IV. Vacancy in
the Park V. The Planet on
the Table. Wallace
Stevens' poem The Planet
on the Table begins
-Ariel was glad he had
written his poems,They
were of a remembered
timeOr of something seen
that he liked.In this
string quartet, also
entitled The Planet on
the Table, my planet is
made of the music and
sounds of a remembered
time or of something
heard that I liked.The
quartet has five
movements, each headed by
a quotation from one of
Stevens' poems* as a
point of departure or
pathway into those
remembered sounds and
music:I. Mrs. Anderson's
Swedish BabyII. She
Measured the HourIII.
Scene 10 Becomes 11IV.
Someone Has Walked Across
the SnowV. His Self and
the SunLike Stevens, my
self and the sun are one,
and my music, like his
poetry, although makings
of my self, is also
makings of the sun.
Stevens wrote it was not
important that his poetry
survive, which is also
true of my work.What
matters is that my music,
like his poetry, should
bear some lineament or
character, some
affluence, if only half
perceived in the poverty
of its sounds, of the
planet of which it was
part.*Sources for the
titles:I. The Pleasures
of Merely CirculatingII.
The Idea of Order at Key
WestIII. Chaos in Motion
and Not in MotionIV.
Vacancy in the ParkV. The
Planet on the Table.
Arranged by Ernie Hawkins. For guitar. Squareback saddle- stitched. Grossman ...(+)
Arranged by Ernie
Hawkins. For
guitar. Squareback
saddle-
stitched. Grossman Audio.
Intermediate-Advanced.
Book/CD
Set. 84 pages. Published
by
Mel Bay Publications, Inc
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Chamber Music large ensemble SKU: PR.114419760 For Saxophone Octet...(+)
Chamber Music large
ensemble
SKU:
PR.114419760
For
Saxophone Octet.
Composed by Hungarian
Folk. Arranged by Stacy
Garrop. Sws. Set of Score
and Parts.
12+4+4+4+4+4+4+4+4 pages.
Duration 4:30. Theodore
Presser Company
#114-41976. Published by
Theodore Presser Company
(PR.114419760).
UPC:
680160680863. 9 x 12
inches.
This
alternately serenely
sonoric and joyously
jumping folk song first
came to life as a
commission by the famed
chorus Chanticleer
(recorded on their album
Then and There, Here and
Now). For Christopher
Creviston and his Arizona
State University
Saxophone Studio, Garrop
has created a stellar
arrangement for double
SATB saxophone choir (or
more). Watch the ASU
Saxophone Choir having
fun with Garrop's
arrangement on
YouTube. Jarba, Mare
Jarba is a popular
traditional
Hungarian-Romani folk
song. Its text speaks of
the longing to return to
one's homeland.
Translation of Jarba,
Mare Jarba Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not
to. Jarba, Mare Jarba
is a popular traditional
Hungarian-Romani folk
song. Its text speaks of
the longing to return to
one's
homeland.Translation of
Jarba, Mare JarbaGreen
grass, tall grass, I
would like to go home,but
I cannot, because I have
sworn not to.Tall grass,
green grass – oh,
that I cannot go home!My
mother has left the
village; she left the hut
empty,Adorned with leaves
but full of poverty.Tall
grass, green grass
– oh, that I
cannot go home!Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.
For guitar. Transcribed by Ernie Hawkins, Historical notes by William L. Ell...(+)
For guitar. Transcribed
by
Ernie Hawkins, Historical
notes by William L.
Ellis.
Guitar: Fingerpicking,
Blues, Ragtime.
Intermediate-Advanced.
Book/CD Set. 108 pages.
Published by Mel Bay
Publications, Inc
For guitar. Transcribed by Ernie Hawkins, Historical notes by William L. Ell...(+)
For guitar. Transcribed
by
Ernie Hawkins, Historical
notes by William L.
Ellis.
Blues. Intermediate-
Advanced. Book/CD Set. 72
pages. Published by Mel
Bay
Publications, Inc
String Quartet (Parts) SKU: HL.14037707 Parts. Composed by Kevin V...(+)
String Quartet (Parts)
SKU: HL.14037707
Parts. Composed by
Kevin Volans. Music Sales
America. Contemporary.
Softcover. Composed 2010.
80 pages. Chester Music
#CH7452501. Published by
Chester Music
(HL.14037707).
ISBN
9781849385916. UPC:
884088578626.
8.25x11.75x0.262
inches.
Kevin
Volans' String Quartet
No. 9: Shiva Dances was
commissioned by BBC Radio
3 and first performed by
the Smith Quartet at the
2004 Huddersfield
Contemporary Music
Festival.
Kevin
Volans (the composer)
notes on the
piece: In the past
I have been interested in
trying to go beyond
historicism (1970s),
beyond style(1980s) and
beyond form (1990s) in my
work. Looking back over
the music of the
twentiethcentury I was
struck by the fact the
nearlyall of it is
extremely 'busy', almost
cluttered. Italmost
seemed that composers
felt compelled to look
industrious. In the new
millennium Ithought it
would be interesting to
try and eliminate
content. I also aspired
to movingfrommusic (sound
as art) to art (art as
sound). This, of course,
has already been done by
a numberof composers
(many from New York -
Phil Niblock and La Monte
Young, to name but two),
butit was something I had
never tried.AlthoughI
found it annoying that
the label 'minimalist'
was given to my
African-based work,and
fearing this would make
the label stick, I set
out to write a piece
which reflected my loveof
minimal painting and
architecture. The
Japanesehave a term
'wabi' meaning
'voluntarypoverty' or
'emptiness' to describe
their restrained minimal
aesthetic, an aesthetic
which,however, pays
greatest attention to the
quality of material and
fine detail. I like to
think thatthelack of
excessive pitch material
in this piece reflects a
kind of voluntary
poverty.When Shiva is
portrayed dancing (as
Nataraj) He is depicted
in a circle of flames
crushing asmall figure -
the ego - underfoot.You
get theimpression He
dances on the spot, not
movingaround at all. I
like that. The piece
is dedicated to Pablo
Pascual
Cilleruelo.
Violin and piano SKU: HL.49045822 For violin and piano. Composed b...(+)
Violin and piano
SKU:
HL.49045822
For
violin and piano.
Composed by Vijay Iyer.
This edition: Saddle
stitching. Sheet music.
String Solo. Softcover.
Composed 2015. 72 pages.
Duration 15'. Schott
Music #ED30264. Published
by Schott Music
(HL.49045822).
ISBN
9781540024749. UPC:
888680737764.
9.25x12.0x0.29
inches.
The
Kreutzer Sonata was
originally dedicated not
to Rudolphe Kreutzer (who
never performed it) but
to George Bridgetower, a
famed 18th-century
Afro-European concert
violinist. In an early
draft, Beethoven jokingly
labeled the piece in
starkly racialized terms:
Sonata Mulattica composed
for the mulatto
Brischdauer, big wild
mulatto
composer.Beethoven and
Bridgetower performed the
premiere, which was by
all accounts a success,
and even featuring some
improvised embellishment
by the violinist. While
celebrating afterwards,
the two quarreled about
what Beethoven construed
as Bridgetower's insult
of a female acquaintance;
the composer then revoked
the original dedication,
adding Kreutzer's name
instead. The work gained
acclaim, while
Bridgetower's career
languished; he eventually
died in
poverty.Bridgetower has
been the subject of
considerable research and
speculation, most notably
in poet Rita Dove's book,
Sonata Mulattica. From
our 21st-century vantage,
considering Bridgetower's
unique circumstance, we
can only see him as an
ambiguous figure who, in
embodying difference,
provoked inspiration,
fantasy, desire, anger
and, finally, erasure.My
piece is a collection of
imaginings about George
Bridgetower. It is not
programmatic, but it
takes on an episodic
character, assembled from
contrasting fragments.
The dance rhythms,
recurring figures and
gestural contours are
intended to feature the
embodied expertise and
expressivity of the
performers, who at times
must access liminal
sounds and execute
complex synchronies. I am
grateful to Jenny Koh and
Shai Wosner for involving
me in their beautiful,
virtuosic
music-making.
Guitar SKU: BT.VOLMB703 For Classical Guitar. Arranged by Mauro Di...(+)
Guitar
SKU:
BT.VOLMB703
For
Classical Guitar.
Arranged by Mauro Di
Domenico. Book Only.
Composed 2018. 40 pages.
Volonte e Co #VOLMB703.
Published by Volonte e Co
(BT.VOLMB703).
ISBN
9788863887037.
International.
A
great and original
compilation of Ennio
Morricone’s best
works for Classical
Guitar. The publication
includes original
transcriptions edited by
the renowned guitarist
Mauro Di Domenico and
officially approved by
Mr. Ennio Morricone
himself. In addition to
that, this title
includes various
special content, such as
writings by Ennio
Morricone, an unpublished
work written for the
author and the
possibility to listen to
Mauro Di Domenico’s
performances, playing and
interpreting some of the
pieces of music included
in the book. Contents
include Gabriel’s
Oboe, C’era una
volta il West, Giù
la testa, Nuovo Cinema
Paradiso,
Maturità,
Temad’amore,
Poverty, C’era una
volta in America,
Deborah’s Theme,
Playing Love, La
corrispondenza and
Non telefonare.
Mixed choir (SSAATTBB) - advanced SKU: HL.49018397 (In the Fields)...(+)
Mixed choir (SSAATTBB) -
advanced
SKU:
HL.49018397
(In
the Fields). Composed
by Nikolai Andreyevich
Roslavets. Edited by
Marina Lobanova. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Choral
score. 12 pages. Duration
2'. Schott Music #C54051.
Published by Schott Music
(HL.49018397).
ISBN
9790001174220. UPC:
884088648763.
7.5x11.5x0.051 inches.
Russian.
In the
days of Roslawez, the use
of lyrical texts in
Russian choral music was
an exception.
Traditionally, sacred
liturgical texts were
preferred in choral
singing. Roslawez
composed only a few
choral works anyway, so
this excellent cantabile
piece is a real treasure.
The poem 'Na poljach' (In
the Fields) was written
by the Russian poet Pyotr
Oreshin. Little solo
parts answered by the
tutti, charming harmonies
and a floating rhythm
result in an
Impressionist tonal
image. The piece is quite
easy to sing and will
bring pleasure to both
performers and
listeners.Roslawez
studied composition and
violin in Moscow. He was
among the leading figures
of the musical scene in
the 1920s. Treated more
and more with hostility
for political reasons and
eventually barred from
pursuing his career, he
spent the last years of
his life in poverty.
Harp SKU: HL.48181024 For Harp. Composed by Henriette Renie. Leduc...(+)
Harp
SKU:
HL.48181024
For
Harp. Composed by
Henriette Renie. Leduc.
Classical. Softcover. 15
pages. Alphonse Leduc
#AL20016. Published by
Alphonse Leduc
(HL.48181024).
UPC:
888680878566. 9x12
inches.
French
harpist and composer,
Henriette Renié
(1875-1956) lived in
poverty for much of her
life. However, this did
not stop her from
composing significant
works for the harp,
including Legend of
the Elves inspired
the poem of the same name
by French poet, Leconte
de Lisle. Despite being a
talented composer,
Renié lived at a
time where fame and
success was socially
unacceptable for women.
In 1903, she composed her
substantial work for
harp, Legend of the
Elves. As a highly
virtuosic work, this
Renié piece
displays use of cadenza
passages, exploitation of
tonality, complex rhythms
and variety in
performance directions.
For advanced harpists,
Renié's Legend
of the Elves is an
exciting and varied
addition to the
repertoire.
Insurgence Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.50878 Composed by Rossano Galante. Concert...(+)
Concert Band - Grade 3
SKU: AP.50878
Composed by Rossano
Galante. Concert Band;
Performance Music
Ensemble; Single Titles.
Young Symphonic.
Programmatic. Score and
Part(s). Duration 3:30.
Alfred Music #00-50878.
Published by Alfred Music
(AP.50878).
ISBN
9781470668396. UPC:
038081587264.
English.
In a world
where food is rationed
based on wealth and
status, people
experiencing poverty have
formed a task force to
gain equality.
Insurgence, by Rossano
Galante, begins with a
driving, rhythmic
ostinato in the winds,
low brass, and
percussion. Soaring,
aggressive horn lines
take the lead in this
post-apocalyptic setting.
This theme is passed to
the trumpets, then the
winds, heralding their
presence in this work.
The piece transitions to
a slightly lyrical
section, capturing the
pain and struggle these
humans must endure during
these challenging times.
The piece recapitulates
the main theme with the
full ensemble, bringing
this composition to a
thunderous conclusion.
(3:30).
E-Mail from Brazil Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3 SKU: BT.DHP-1033452-215 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3
SKU:
BT.DHP-1033452-215
Composed by Harm Evers.
Applause Series. Original
Light Music. Score Only.
Composed 2003. De Haske
Publications #DHP
1033452-215. Published by
De Haske Publications
(BT.DHP-1033452-215).
The inspiration
for this piece came from
an e-mail received by the
composer from a friend
who was travelling around
Brazil. The music depicts
the countries great
contrasts, from the
extreme poverty of the
street children to the
lavish lifestyle of the
top footballers and the
carnival revellers in Rio
de Janeiro. Bring an
exotic feel to any
concert with the lively
Latin American rhythms of
E-mail from Brazil.
Der Komponist
ließ sich zu E-mail
from Brazil von einer
E-Mail von Freunden
inspirieren, die sich zu
der Zeit in Brasilien
aufhielten. Die Musik
zeichnet ein Bild dieses
Landes voller
Gegensätze. Sie
erzählt von Armut und
Reichtum, von der wilden
Natur am Amazonas und
Metropolen wie Rio de
Janeiro oder São
Paulo. Es geht um Sonne,
Fußball, Karneval und
nicht zuletzt die
spektakulären Shows.
Ein kontrastreiches Werk
voll von
lateinamerikanischen
Rhythmen und lebhaftem
Temperament.
Harp SKU: HL.48180979 For Harp. Composed by Henriette Renie. Leduc...(+)
Harp
SKU:
HL.48180979
For
Harp. Composed by
Henriette Renie. Leduc.
Classical. CD only. 3
pages. Alphonse Leduc
#AL19922. Published by
Alphonse Leduc
(HL.48180979).
UPC:
888680878399. 9x12
inches.
French
harpist and composer,
Henriette Renié
(1875-1956) lived in
poverty for much of her
life. However, this did
not stop her from
composing significant
works for the harp,
including Grandmother
Tells a Story, an
easy piece for beginners
of the instrument.
Despite being a talented
composer, Renié
lived at a time where
fame and success was
socially unacceptable for
women. In 1940,
Grandmother Tells a
Story was published.
As a easy piece, this
Renié work is
suitable for beginners of
the instrument, including
detailed performance
directions and
fingerings. For all
beginner harpists,
Renié's
Grandmother Tells a
Story is an exciting
and varied addition to
the repertoire.
By Bob Chilcott. For SATB choir (with divisions), a cappella. Mixed Voices. Secu...(+)
By Bob Chilcott. For SATB
choir (with divisions), a
cappella. Mixed Voices.
Secular, Choral Leaflet.
Vocal score. 20 pages.
Duration 4'. Published by
Oxford University Press