By Various. For Piano. Contents include: Morning Has Broken (Massoud); My First ...(+)
By Various. For Piano.
Contents include: Morning
Has Broken (Massoud); My
First Halloween at the
Piano (Scherk); Parade of
the Ants (Greenleaf);
Locomotive Boogie
(Greenleaf); Squeaky
Sneakers (Greenleaf);
Buglers at Sunrise
(Holmes); Chihuahua
Cha-Cha (Greenleaf); The
Great Bike Race
(Greenleaf); If I Lived
Under the Sea (Matz).
Level: Early
Elementary/Elementary.
Book. Published by The
FJH Music Company, Inc.
I Lived Chorale 3 parties SSA A Cappella Hal Leonard
By OneRepublic. By Noel Zancanella, Ryan Tedder. Arranged by Deke Sharon. Pop Ch...(+)
By OneRepublic. By Noel
Zancanella, Ryan Tedder.
Arranged by Deke Sharon.
Pop Choral Series. Female
Voices, A Cappella,
Show Choir, Pop. Octavo.
16 pages. Published by
Hal Leonard (HL.216562).
I Lived Chorale SATB SATB A Cappella [Octavo] Hal Leonard
By OneRepublic. By Noel Zancanella and Ryan Tedder (1979-). Arranged by Deke Sha...(+)
By OneRepublic. By Noel
Zancanella and Ryan
Tedder (1979-). Arranged
by Deke Sharon. Pop
Choral Series. Octavo. 16
pages. Published by Hal
Leonard (HL.216561).
By Janice Kapp Perry / Steven Kapp Perry / Lynne Perry Christofferson. Text: Jan...(+)
By Janice Kapp Perry /
Steven Kapp Perry / Lynne
Perry Christofferson.
Text: Janice Kapp Perry /
Steven Kapp Perry / Lynne
Perry Christofferson /
Joy Saunders Lundberg /
Michaelene P. Grassli.
For Vocal Songbook.
Published by Jackman
Music Corporation.
Level: Medium.
Guitar Chords with Lyrics Guitar SKU: HL.1477747 By Taylor Swift. Guitar....(+)
Guitar Chords with Lyrics
Guitar
SKU:
HL.1477747
By Taylor
Swift. Guitar. Pop.
Softcover. Published by
Hal Leonard (HL.1477747).
ISBN 9798350128512.
UPC: 196288215035.
9.0x12.0x0.277
inches.
You've
memorized all the songs
from the double album,
now it's time to play
them for yourself! Our
matching folio to The
Tortured Poets
Department: The Anthology
features all 31 tracks
meticulously arranged for
guitar, with chord
symbols, guitar chord
frames, and full lyrics.
Dive into the emotional
depth of Swift's music
and play along with your
favorite tracks from
“Fortnight” to “The
Manuscript,” to “So
Long, London” to “So
High School,” and all
the others. Immerse
yourself in the
storytelling prowess of
Taylor Swift and bring
her songs to life with
your own unique voice and
talent! Songs include:
The Albatross • The
Alchemy • The Black Dog
• The Bolter • But
Daddy I Love Him •
Cassandra • Chloe or
Sam or Sophia or Marcus
• Clara Bow • Down
Bad • Florida!!! •
Fortnight • Fresh Out
the Slammer • Guilty as
Sin? • How Did It End?
• I Can Do It with a
Broken Heart • I Can
Fix Him (No Really I Can)
• I Hate It Here • I
Look in People's Windows
• Imgonnagetyouback •
Loml • The Manuscript
• My Boy Only Breaks
His Favorite Toys •
Peter • The Prophecy
• Robin • The
Smallest Man Who Ever
Lived • So High School
• So Long, London •
thanK you aIMee • The
Tortured Poets Department
• Who's Afraid of
Little Old Me?
Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+4+2+2+2+8+8+4+2+4+4+2+2
+2+2+3+3+3+4+4+4+4+3+3+3+
6+4+4+2+2+1+1+1+1+4+24
pages. Duration 6
minutes, 28 seconds. Carl
Fischer Music #SPS87.
Published by Carl Fischer
Music (CF.SPS87).
ISBN
9781491156445. UPC:
680160914982. 9 x 12
inches.
About the
Work In the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty. Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite stirring.
Performance Notes The
sustained slower tempo
may prove a challenge for
some groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
organ-like); be careful
to stagger breathe. The
tempo change at m. 55
should not be much of a
challenge, but many
groups may tend to slow
back down to the original
tempo by m. 59; the
timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. About
the WorkIn the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty.Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite
stirring.Performance
Notes The sustained
slower tempo may prove a
challenge for some
groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
“organ-likeâ€)
; be careful to stagger
breathe. The tempo change
at m. 55 should not be
much of a challenge, but
many groups may tend to
slow back down to the
original tempo by m. 59;
the timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes.
Composed by
Jeremy Martin. Sws. Sps.
Full score. 24 pages.
Duration 6 minutes, 28
seconds. Carl Fischer
Music #SPS87F. Published
by Carl Fischer Music
(CF.SPS87F).
ISBN
9781491156452. UPC:
680160914999. 9 x 12
inches.
About the
Work In the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty. Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite stirring.
Performance Notes The
sustained slower tempo
may prove a challenge for
some groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
organ-like); be careful
to stagger breathe. The
tempo change at m. 55
should not be much of a
challenge, but many
groups may tend to slow
back down to the original
tempo by m. 59; the
timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. About
the WorkIn the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty.Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite
stirring.Performance
Notes The sustained
slower tempo may prove a
challenge for some
groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
“organ-likeâ€)
; be careful to stagger
breathe. The tempo change
at m. 55 should not be
much of a challenge, but
many groups may tend to
slow back down to the
original tempo by m. 59;
the timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes.
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Choir SKU: BT.MUSM570369027 For choir and fixed media. Composed by...(+)
Choir
SKU:
BT.MUSM570369027
For choir and fixed
media. Composed by
Evis Sammoutis. CD Only.
Composed 2019. University
of York Music Press
#MUSM570369027. Published
by University of York
Music Press
(BT.MUSM570369027).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Piano - easy to medium easy SKU: JK.01966 Composed by Various. Arranged b...(+)
Piano - easy to medium
easy
SKU: JK.01966
Composed by Various.
Arranged by Paralee Miles
Eckman. Piano Beginner,
Piano Preludes, Piano
Solos, Special Events
Baptism and Confirmation,
Special Events Primary
Program, Children.
Christian, Inspirational.
Jackman Music Corporation
#01966. Published by
Jackman Music Corporation
(JK.01966).
UPC:
093285019669. Mosiah
2:22, Doctrine and
Covenants
59:23.
Easy Primary
Songs for Piano is the
perfect book for
beginning pianists who
can play hands together.
You'll find many of the
most well-loved primary
songs in this book,
arranged in a simple but
beautiful way.
In an effort to make this
book simple and
approachable, every song
has been arranged in the
keys of C, G, or F. Each
song displays a keyboard
chart above, showing the
beginning hand positions
and the sharps/flats
included in the piece.
Songs have been ordered
by level of difficulty
(Beginner: Level 1 to
Level 2). Watch for
helpful tips above each
song and don't be afraid
to refer to the pages in
the front which contain
helpful tools and basic
piano/music theory. *
While this book is
perfect for developing
pianists, it could also
be used in a primary
setting as a simplified
songook for the
accompanist. This
book was originally
titled Simplified
Favorites (#80095)
Contents: A Happy
Family Baptism
Book of Mormon
Stories Dare to Do
Right Families Can Be
Together Forever Give
Said the Little
Stream Happy, Happy
Birthday Have a Very,
Merry Christmas He
Sent His Son I Am a
Child of God I
Believe in Being
Honest I Feel My
Savior's Love I Hope
They Call Me on a
Mission I Lived in
Heaven I Love to See
the Temple I Want to
Be a Missionary Now I
Will Be Valiant In
the Leafy Treetops
Pioneer Children Sang as
They Walked It's
Autumn-time Keep the
Commandments Mother
Dear My Dad My
Heavenly Father Loves
Me Oh, What do You Do
in the Summertime?
Once There Was a
Snowman Quickly I'll
Obey Search, Ponder
and Pray Seek the
Lord Early Smiles
Teach Me to Walk in the
Light Thank Thee for
Everything The Golden
Plates We'll Bring
the World His Truth
When Joseph Went to
Bethlehem When He
Comes Again
Composers: various
Arranger: Paralee Miles
Eckman Lyricist:
various Difficulty:
easy to medium easy
Reference: Mosiah 2:22,
Doctrine and Covenants
59:23.
Voice,guitar SKU: OT.28104 Composed by Daniel Akiva. Sephardic Anthology ...(+)
Voice,guitar
SKU:
OT.28104
Composed by
Daniel Akiva. Sephardic
Anthology for voice and
guitar. Classical,Jewish.
Performance score. OR-TAV
Music Publications
#28104. Published by
OR-TAV Music Publications
(OT.28104).
ISBN
9789655051100. 8.27 x
11.69
inches.
Daniel
Akiva Alma i Vida i
Korason Sephardic
Anthology for voice and
guitar
The 18
songs of the collection
Alma i Vida i Korason
include romansas,
cantigas, life cycle
songs and original music
composed to poems by
Avner Perez, a journey in
Ladino song from the
Middle Ages through the
21st century. Alma i Vida
i Korason was recently
recorded by Sivan
Goldman, soprano and
Daniel Akiva, guitar,
together with a special
series of short videos
filmed at the Ralli
Museum in Caesarea,
Israel. For further
information, please visit
the YouTube and Spotify
channels of the
composer.
Contents: 1. A la una
Naci yo 2. Kisa Agora
el Amor 3. Durme
Durme Mi Andjeliko 4.
Morena me Yaman 5. La
Serena 6. Durme Durme
Mi Alma Donzeya 7.
Noches Noches 8. Mama
Yo no Tengo Visto 9.
Ya Abasha La Novia
10. Esta Noche 11. Ya
Viene El Kativo 12.
Komo La Roza 13. Ay
Linda Amiga 14. El
Prisionero 15.
Kantiga de Kune Para
Selanik 16. Puncha
Puncha 17. Durme
Hermozo Hiziko 18.
Sirkiji
Daniel
Akiva is a composer,
performer, and educator
whose performances on
guitar and lute have
earned international
acclaim. Mr. Akiva
graduated from the Rubin
Academy of Music in
Jerusalem in 1981, where
he studied classical
guitar with Haim Asulin
and composition with Haim
Alexander. In 1987 he
completed his studies of
lute with Jonathan Rubin
and composition with Jean
Ballisa at the Geneva
Conservatorium in
Switzerland. In 1986 he
founded the Music
Department at the WIZO
High School for the Arts
in Haifa which he headed
for over thirty years. As
part of his work at WIZO
High School, he developed
a method for teaching
free improvisation which
has been incorporated
into the music program at
the school. He also
served as the Artistic
Director of the Guitar
Gems Festival from
2006-2018. Mr. Akiva
has performed in concerts
as a guitarist and
lutenist and given master
classes in Israel,
Europe, Russia, the
United States, and Latin
America. Daniel
Akiva’s
compositional output
includes works for solo
instruments, chamber
ensembles, choir, voice
and guitar, piano, and
chamber orchestra. His
works have been recorded
on twelve CDs, the latest
of which, Malchut, was
issued by OR-TAV in 2014.
Akiva's work Psalms for
guitar solo was awarded
the ACUM prize for
composition in 1990, and
his string quartet Ciclos
was awarded the ACUM
prize for composition in
2002. In 2006 his CD
Hope, recorded with
Laurel Zucker (flute) and
Ronit Widmann-Levy
(soprano) was awarded the
Amazon prize. In 2017
Akiva was awarded the
Prime Minister's Prize
for composers in
Israel. A native of
Haifa whose family has
lived in Israel for over
five hundred years, he
was steeped in the
Sephardic
(Jewish-Spanish)
tradition from his youth.
A large part of his
oeuvre has been devoted
to a dialogue with the
music of the Sephardic
Jews. Daniel Akiva has
also maintained a
creative dialogue
throughout the years with
poets and writers Amnon
Shemesh, Rivka Miriam,
and Avner Perez. 105
pages, softcover.
Piano Accompaniment; Soprano (Soprano) SKU: HL.49046394 Songs for Sopr...(+)
Piano Accompaniment;
Soprano (Soprano)
SKU:
HL.49046394
Songs
for Soprano and
Piano. Composed by
Anno Schreier. Vocal
Solo. Classical.
Softcover. 48 pages.
Duration 1200 seconds.
Schott Music #ED23190.
Published by Schott Music
(HL.49046394).
ISBN
9781540086570. UPC:
840126910186. 9.0x12.0
inches.
In 2010 I
lived in Rome as a Villa
Massimo scholarship
holder. During my time
there I came across a few
poems by Michelangelo
that touched me a lot and
soon had the plan to set
some of them to music.
But I wanted to combine
it with something
contemporary - just like
in Rome the old and the
new always meet. The poet
Marcel Beyer, whom I met
in Rome, then wrote the
cycle of poems Die
Grillmeisterin for me,
which takes up many
motifs from the
Michelangelo texts (fire,
tears, getting burned,
loneliness, etc.). I then
alternately combined this
cycle of poems with the
Michelangelo poems. The
Italian songs have a
sometimes melancholy,
sometimes dramatic
character, while the
German songs are rather
bizarre, sometimes even
humorous. Despite these
contrasts in character,
there are also many
musical connections
between the German and
Italian songs. Individual
motifs and chord
sequences sometimes
return in completely
different contexts, and
there is even a direct
connection between the
first and last song, in
that the same vocal line
is underlaid with a
completely different
text. This creates a
musical framework that
holds the very
heterogeneous selection
of texts together. -Anno
Schreier.
Soprano and Piano Piano Accompaniment; Soprano (Soprano) SKU: HL.49046387 ...(+)
Soprano and Piano Piano
Accompaniment; Soprano
(Soprano)
SKU:
HL.49046387
Texts
by Marcel Beyer &
Michelangelo Buonarro
Soprano and Piano.
Composed by Anno
Schreier. Vocal Solo.
Classical. Softcover. 48
pages. Duration 1200
seconds. Schott Music
#ED231910. Published by
Schott Music
(HL.49046387).
ISBN
9781540086501. UPC:
840126910117.
In
2010 I lived in Rome as a
Villa Massimo scholarship
holder. During my time
there I came across a few
poems by Michelangelo
that touched me a lot and
soon had the plan to set
some of them to music.
But I wanted to combine
it with something
contemporary - just like
in Rome the old and the
new always meet. The poet
Marcel Beyer, whom I met
in Rome, then wrote the
cycle of poems Die
Grillmeisterin for me,
which takes up many
motifs from the
Michelangelo texts (fire,
tears, getting burned,
loneliness, etc.). I then
alternately combined this
cycle of poems with the
Michelangelo poems. The
Italian songs have a
sometimes melancholy,
sometimes dramatic
character, while the
German songs are rather
bizarre, sometimes even
humorous. Despite these
contrasts in character,
there are also many
musical connections
between the German and
Italian songs. Individual
motifs and chord
sequences sometimes
return in completely
different contexts, and
there is even a direct
connection between the
first and last song, in
that the same vocal line
is underlaid with a
completely different
text. This creates a
musical framework that
holds the very
heterogeneous selection
of texts together. Anno
Schreier.
2 Pianos, 4 Hands (Piano Solo) SKU: HL.48025215 Reduction for Two Pian...(+)
2 Pianos, 4 Hands (Piano
Solo)
SKU:
HL.48025215
Reduction for Two
Pianos. Composed by
Qigang Chen. BH Piano.
Classical. Softcover. 56
pages. Boosey & Hawkes
#M060140105. Published by
Boosey & Hawkes
(HL.48025215).
UPC:
196288133438.
Er
Huang was commissioned by
Carnegie Hall, New York
where, in 2009, it
received its world
premiere with solo
pianist Lang Lang and the
Juilliard Orchestra under
the baton of Michael
Tilson Thomas. Chen wrote
about the work, 'Music
has its own life –
for me the germination of
any musical work is like
a tree growing out of the
ground, and the eventual
outcome of this life is
entirely unknowable in
advance.' Commenting on
the connection between Er
Huang and its source of
inspiration, the Er Huang
tunes from the classical
Peking Opera repertoire,
he says that, 'the way I
applied musical elements
from Peking Opera to my
own writing was not
really based on
musicological studies.
Rather, these tunes were
an essential part of my
childhood in Beijing, and
always intertwined with
memories of my family and
the society I lived in at
the time. Many people
from my generation would
be able to hum these
tunes by heart. These
days, however, these
familiar tunes have been
almost entirely
forgotten, as the younger
generation is much more
occupied by western pop
culture. This is why,
when I quote these tunes,
I often do so with a
great sense of nostalgia.
Traditional Chinese music
has a very strong
character, and the
organic assimilation of
something that I feel
most akin to, over time,
into my own musical
language, has become an
essential part of my
artistic
expression.'.
a2 (b) Violon, Violoncelle (duo) [Conducteur] University Of York Music Press
Violin and Cello SKU: BT.MUSM570360130 Composed by Thomas Simaku. Score O...(+)
Violin and Cello
SKU:
BT.MUSM570360130
Composed by Thomas
Simaku. Score Only. 9
pages. University of York
Music Press
#MUSM570360130. Published
by University of York
Music Press
(BT.MUSM570360130).
English.
For
Violin and Cello.
Published 2008. Dedicated
to Peter Sheppard
Skaerved and Neil Heyde.
This music was composed
during my DAAD residency
in Berlin in October —
November 2007. If I were
to describe it in one
sentence, I would say
that it is based on the
idea of 'two things
seen/heard as one'. a2 (a
due) is a well-known term
to musicians; it is often
found in orchestral
scores indicating a given
passage that is to be
played by two instruments
of the same family.
Although violin and cello
could well be regarded as
'first cousins' of the
string family, the
literal implementation of
the term a2 as a
'compositional strategy'
would have been too much
(!) for a piece of
chamber music consisting
of no more than two
players. Not
surprisingly, this never
happens in this work; in
fact, the opposite is
true: regardless of how
it appears on paper (i.e.
on one or two staves),
the music for each
instrument is constantly
based on two layers. This
musical 'interpretation'
of the title gives an
indication as to how the
textural format of the
piece operates. However,
this was by no means the
only thought that
'preoccupied' my mind
whilst composing this
music. Berlin made a
profound impression on
me. The remnants of the
wall in Bernauer
Straße and the cobbled
two-stone line tracing
the wall across where it
once stood — a clear
reminder of what not so
long ago there were two
different worlds in one
city — provoked a
strikingly dramatic
effect. Border,
death-strip, killing, and
escape to freedom had a
particularly evocative
resonance, especially of
the time when I lived for
three years in a remote
town in Southern Albania
right at the border with
Greece. There, there was
a nameless road whose
destination the
authorities did not want
you to know, but the
locals called it the
'death-road'. In no way
programmatic, in this
context, the
extra-musical dimension
of the principal idea is
very much part of the
piece. Here, the musical
and extra-musical
interpretations cannot
easily be separated, for
they are two parts of the
same thing: a2. As if to
add another dimension to
this idea, there are two
versions of this piece:
for viola & cello and
violin & cello. The
first version was
premiéred by Garth Knox
and Rohan de Saram at the
2008 Intrasonus Festival
in Venice..
Orchestra; Piano (Study Score) SKU: HL.48025214 For Piano and Orchestr...(+)
Orchestra; Piano (Study
Score)
SKU:
HL.48025214
For
Piano and Orchestra Study
Score. Composed by
Qigang Chen. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 48
pages. Boosey & Hawkes
#M060135163. Published by
Boosey & Hawkes
(HL.48025214).
ISBN
9781784544485. UPC:
196288133421.
8.25x12.0x0.157
inches.
Er Huang
was commissioned by
Carnegie Hall, New York
where, in 2009, it
received its world
premiere with solo
pianist Lang Lang and the
Juilliard Orchestra under
the baton of Michael
Tilson Thomas. Chen wrote
about the work, 'Music
has its own life –
for me the germination of
any musical work is like
a tree growing out of the
ground, and the eventual
outcome of this life is
entirely unknowable in
advance.' Commenting on
the connection between Er
Huang and its source of
inspiration, the Er Huang
tunes from the classical
Peking Opera repertoire,
he says that, 'the way I
applied musical elements
from Peking Opera to my
own writing was not
really based on
musicological studies.
Rather, these tunes were
an essential part of my
childhood in Beijing, and
always intertwined with
memories of my family and
the society I lived in at
the time. Many people
from my generation would
be able to hum these
tunes by heart. These
days, however, these
familiar tunes have been
almost entirely
forgotten, as the younger
generation is much more
occupied by western pop
culture. This is why,
when I quote these tunes,
Ioften do so with a great
sense of nostalgia.
Traditional Chinese music
has a very strong
character, and the
organic assimilation of
something that I feel
most akin to, over time,
into my own musical
language, has become an
essential part of my
artistic
expression.'.
a2 (a) [Conducteur] University Of York Music Press
Viola and Cello SKU: BT.MUSM570360116 Composed by Thomas Simaku. Score On...(+)
Viola and Cello
SKU:
BT.MUSM570360116
Composed by Thomas
Simaku. Score Only. 9
pages. University of York
Music Press
#MUSM570360116. Published
by University of York
Music Press
(BT.MUSM570360116).
English.
For
Viola and Cello.
Published 2008. Dedicated
to Garth Knox and Rohan
de Saram First
performance: Intrasonus
Festival Venice, 3 May
2008 This music was
composed during my DAAD
residency in Berlin in
October — November
2007. If I were to
describe it in one
sentence, I would say
that it is based on the
idea of 'two things
seen/heard as one'. a2 (a
due) is a well-known term
to musicians; it is often
found in orchestral
scores indicating a given
passage that is to be
played by two instruments
of the same family.
Although violin and cello
could well be regarded as
'first cousins' of the
string family, the
literal implementation of
the term a2 as a
'compositional strategy'
would have been too much
(!) for a piece of
chamber music consisting
of no more than two
players. Not
surprisingly, this never
happens in this work; in
fact, the opposite is
true: regardless of how
it appears on paper (i.e.
on one or two staves),
the music for each
instrument is constantly
based on two layers. This
musical 'interpretation'
of the title gives an
indication as to how the
textural format of the
piece operates. However,
this was by no means the
only thought that
'preoccupied' my mind
whilst composing this
music. Berlin made a
profound impression on
me. The remnants of the
wall in Bernauer
Straße and the cobbled
two-stone line tracing
the wall across where it
once stood — a clear
reminder of what not so
long ago there were two
different worlds in one
city — provoked a
strikingly dramatic
effect. Border,
death-strip, killing, and
escape to freedom had a
particularly evocative
resonance, especially of
the time when I lived for
three years in a remote
town in Southern Albania
right at the border with
Greece. There, there was
a nameless road whose
destination the
authorities did not want
you to know, but the
locals called it the
'death-road'. In no way
programmatic, in this
context, the
extra-musical dimension
of the principal idea is
very much part of the
piece. Here, the musical
and extra-musical
interpretations cannot
easily be separated, for
they are two parts of the
same thing: a2. As if to
add another dimension to
this idea, there are two
versions of this piece:
for viola & cello and
violin & cello. The
first version was
premiéred by Garth Knox
and Rohan de Saram at the
2008 Intrasonus Festival
in Venice..
Flute and Piano. Composed by Karl Jenkins. Boosey & Hawkes Chamber Music...(+)
Flute and Piano. Composed
by
Karl Jenkins. Boosey
&
Hawkes Chamber Music.
Softcover. 22 pages.
Boosey
& Hawkes #M060133008.
Published by Boosey &
Hawkes