| Fright Night Piano seul - Facile Hal Leonard
(HLSPL Showcase Solos Early Intermediate - Level 4). Composed by Lynda Lybeck-Ro...(+)
(HLSPL Showcase Solos
Early Intermediate -
Level 4). Composed by
Lynda Lybeck-Robinson.
For Piano/Keyboard.
Educational Piano
Library. Early
Intermediate. 8 pages.
Published by Hal Leonard
$2.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| At the Movies -- Haunted Nights Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
Concert Band - Grade 3.5 SKU: AP.48207S Featuring: 29 Neibolt Street (...(+)
Concert Band - Grade 3.5
SKU: AP.48207S
Featuring: 29 Neibolt
Street (from IT) / Hello
Zepp (Theme from Saw) /
Sidney's Lament (from
Scream) / Halloween
Theme. Composed by
Various. Arranged by
Justin Williams. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Concert Band. Form:
Medley. Halloween; Movie.
Score. 32 pages. Duration
5:30. Alfred Music
#00-48207S. Published by
Alfred Music (AP.48207S).
ISBN 9781470654771.
UPC: 038081559018.
English. The newest
installment of the At the
Movies series showcases
selections from IT, Saw,
Scream, and Halloween.
With shocking twists and
turns throughout the
duration of the piece, it
is certainly recommended
that audiences create a
film from their own
imaginations! Suitable
all year but perfect for
Halloween. Lock the doors
and leave the lights on
for this classic fright
night! (5:30). $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| At the Movies -- Haunted Nights Orchestre d'harmonie - Intermédiaire Alfred Publishing
Concert Band - Grade 3.5 SKU: AP.48207 Featuring: 29 Neibolt Street (f...(+)
Concert Band - Grade 3.5
SKU: AP.48207
Featuring: 29 Neibolt
Street (from IT) / Hello
Zepp (Theme from Saw) /
Sidney's Lament (from
Scream) / Halloween
Theme. Composed by
Various. Arranged by
Justin Williams. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Concert Band. Form:
Medley. Halloween; Movie.
Score and Part(s). 264
pages. Duration 5:30.
Alfred Music #00-48207.
Published by Alfred Music
(AP.48207). ISBN
9781470654764. UPC:
038081559001.
English. The newest
installment of the At the
Movies series showcases
selections from IT, Saw,
Scream, and Halloween.
With shocking twists and
turns throughout the
duration of the piece, it
is certainly recommended
that audiences create a
film from their own
imaginations! Suitable
all year but perfect for
Halloween. Lock the doors
and leave the lights on
for this classic fright
night! (5:30). $78.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fright Night Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
Arranged by James Kazik. Score and Parts. Discovery Plus Concert Band. Grade 2. ...(+)
Arranged by James Kazik.
Score and Parts.
Discovery Plus Concert
Band. Grade 2. Published
by Hal Leonard
$65.00 $61.75 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fright Night (An Instant Concert for Halloween) Orchestre à Cordes [Conducteur et Parties séparées] Hal Leonard
Arranged by Larry Moore. (Score and Parts). Easy Pops Specials For Strings. Pub...(+)
Arranged by Larry Moore.
(Score and Parts). Easy
Pops Specials For
Strings. Published by Hal
Leonard.
(1)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Nightshade [Conducteur] Wilhelm Hansen
Full Score Chamber Ensemble (Score) SKU: HL.14028052 For Chamber Ensem...(+)
Full Score Chamber
Ensemble (Score) SKU:
HL.14028052 For
Chamber Ensemble.
Composed by Poul Ruders.
Music Sales America.
Classical. Score. Edition
Wilhelm Hansen #KP00203.
Published by Edition
Wilhelm Hansen
(HL.14028052). ISBN
9788759870853. Rude
rs writes: NIGHTSHADE is
an instrumental
dark-room, a grave-yard
of low-pitched,
tight-knitted, crawling
chords sliced asunder by
the cold extremely high
positioned movements of
the oboe and violin in
particular: tones
sustained to
near-immobility and then
scared into startling
velocity, like geckoes on
a Southern garden wall.
Shades in the night are
pale and gloomy
phenomenons to behold;
treacherous beauties in
the mighty realm of
invisibility and
blackness. Belladonna
(beautiful lady) is the
morbid christening of
that fearsome variety of
flora: the deadly
nightshade. The piece is,
on one hand, a study in
extreme sonorities; the
infrequently used
contrabass clarinet is
being employed along with
the contra-bassoon,
forming the ultra-low
foundation of the score
and the bottom-register
of the French horn and
the trombone is set
against the serene
clarity of high violin
and oboe. On the other
hand, the piece is a
tone-poem of sorts, on
the various associations
as they form within the
mind of the individual
listener when confronted
with the very word
NIGHTSHADE. Personally, I
come to think of pale
moonlight, tombstones,
the compelling as well as
frightening spell of a
dark forest. A Study in
black the piece has been
called. $39.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Imaginations, Book 2 Piano seul - Facile FJH
Piano (Solo Piano) - Early Intermediate SKU: FJ.FJH2311 2. Compose...(+)
Piano (Solo Piano) -
Early Intermediate
SKU: FJ.FJH2311
2. Composed by
Kevin Olson. Piano
Collection; Piano
Supplemental.
Imaginations. Classical.
Book. The FJH Music
Company Inc #98-FJH2311.
Published by The FJH
Music Company Inc
(FJ.FJH2311). ISBN
9781619282223. UPC:
241444387412.
English. Book 2
packs a punch with nine
original solos that are
fun to practice, play and
perform! Students will
want to play every piece
in this interesting and
varied collection. $7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Night Fright! Advance Music
3 Melody Instruments, Piano, Guitar, Double Bass, Percussion SKU: AP.1-ADV170...(+)
3 Melody Instruments,
Piano, Guitar, Double
Bass, Percussion SKU:
AP.1-ADV17051
Ubusuky Ukuthuka!
(Ensemble Mix).
Composed by Mike Rossi. 5
or More; Mixed
Instruments - Flexible
Instrumentation; Solo
Small Ensembles. Advance
Music. Blues; Jazz. Score
and Part(s). Advance
Music #01-ADV17051.
Published by Advance
Music (AP.1-ADV17051).
UPC: 805095170511.
English. This is a
fun blues to play. The
opening vamp can be
repeated any number of
times. However it's
important to create a
freaky, frightful
atmosphere by using
sparse and scary effects
in the introduction. $35.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Little Nightmare Music Violon et Piano [Conducteur et Parties séparées] Universal Edition
Three Selected Pieces. Composed by Hyung-ki Joo / Aleksey Igudesman. Scor...(+)
Three Selected
Pieces. Composed by
Hyung-ki Joo / Aleksey
Igudesman. Score and
part(s). Universal
Edition #UE34170.
Published by Universal
Edition (PR.UE034170).
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Frightful Night Piano seul [Feuillet] - Débutant FJH
By Mary Leaf. For Piano. FJH Written For You Piano Solos. Halloween. Level: Earl...(+)
By Mary Leaf. For Piano.
FJH Written For You Piano
Solos. Halloween. Level:
Early Elementary. Solo
Sheet. Published by The
FJH Music Company Inc.
(1)$2.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Grand Duets for Piano, Book 2 1 Piano, 4 mains [Partition] - Facile Alfred Publishing
(8 Elementary Pieces for One Piano, Four Hands). By Melody Bober. For Piano. Pia...(+)
(8 Elementary Pieces for
One Piano, Four Hands).
By Melody Bober. For
Piano. Piano Duet (1
Piano, 4 Hands). Grand
Duets for Piano.
Elementary. Book. 32
pages
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Grand Solos for Piano, Book 1
Piano seul [Partition] - Débutant Alfred Publishing
10 Pieces for Early Elementary Pianists with Optional Duet Accompaniments. By Me...(+)
10 Pieces for Early
Elementary Pianists with
Optional Duet
Accompaniments. By Melody
Bober. For Piano. Piano
Collection. Grand Solos
for Piano. Level: Early
Elementary. Book. 24
pages. Published by
Alfred Publishing.
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Halloween at its Best, Book 1 Piano seul [Partition] - Facile FJH
By Various. For piano. Early Elementary/Elementary. Collection. 24 pages. Publis...(+)
By Various. For piano.
Early
Elementary/Elementary.
Collection. 24 pages.
Published by The FJH
Music Company Inc
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In the Forests of the Night EMB (Editio Musica Budapest)
Strings (Score) SKU: HL.50600899 For 15 Strings (2015) (Score). Co...(+)
Strings (Score) SKU:
HL.50600899 For 15
Strings (2015)
(Score). Composed by
Lá, Tihanyi, and
szló. Contemporary
Music. EMB. Classical.
Softcover. 44 pages.
Duration ca 12'. Editio
Musica Budapest #Z14947.
Published by Editio
Musica Budapest
(HL.50600899). ISBN
9790080149478.
10.25x14.25x0.337 inches.
Laszlo Tihanyi. The
work was commissioned by
the Budapest Strings and
received its first
performance on March 21,
2015, where it was
conducted by the
composer. It is not an
orchestral piece per se,
but a chamber work for an
ensemble of 15 string
soloists in which players
divide into groups of
five and sound at
structurally important
moments. It also features
various high-pitched,
tinkling percussion
instruments, including:
bells, wind chimes and
crotales. This lends a
special tinge to the
night music character of
the piece implied by the
line from William Blake
chosen as the title. The
percussion play a far
more essential role than
one might imagine based
off of the relatively few
notes that they play.
Their soundings both
advance and impede the
musical processes taking
place in the strings so
much so that in some
places the string sound
appears to be
accompanying the tinkling
sounds. Due to all these
factors, Tihanyi's night
becomes mysterious and
even frightening, but
never gloomy. (Janos
Malina). $24.95 - Voir plus => Acheter | | |
| Night of Fright Willis Music
Mid-Elementary Level. By Randall Hartsell. Arranged by Randall Hartsell. Willis....(+)
Mid-Elementary Level. By
Randall Hartsell.
Arranged by Randall
Hartsell. Willis. Size
9x12 inches. 3 pages.
Published by Willis
Music.
$2.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First Repertoire for Little Pianists - Book 2 Piano seul Hal Leonard
Composed by Melanie Spanswick. Willis. Instruction, Recital. Softcover. 56 pag...(+)
Composed by Melanie
Spanswick.
Willis. Instruction,
Recital.
Softcover. 56 pages.
Duration
1140 seconds. Published
by
Willis Music
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The 1960s Guitar Big Book Guitare notes et tablatures [Partition] Alfred Publishing
For guitar and voice. Format: guitar tablature songbook. With guitar tablature, ...(+)
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
guitar notation, vocal
melody, lyrics, chord
names, guitar chord
diagrams and guitar
notation legend. 1960s
and Classic Rock. Series:
Authentic Guitar-Tab
Editions. 220 pages. 9x12
inches. Published by
Alfred Publishing.
(2)$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Robbie Robertson: Robbie Robertson Guitare notes et tablatures [Partition] Alfred Publishing
Performed by Robbie Robertson. Guitar tablature songbook for guitar and voice. S...(+)
Performed by Robbie
Robertson. Guitar
tablature songbook for
guitar and voice. Series:
Guitar Anthology Series.
104 pages. Published by
Alfred Publishing.
(2)$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Peace on Earth Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords...(+)
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 144 pages.
Published by Hal Leonard.
(1)$10.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pranks of the Pesky Poltergeist Orchestre d'harmonie - Débutant MakeMusic
Concert Band - Grade 1 SKU: AP.50995 Composed by Timothy Loest. Concert B...(+)
Concert Band - Grade 1
SKU: AP.50995
Composed by Timothy
Loest. Concert Band;
Performance Music
Ensemble; Single Titles.
MakeMusic Developing
Band. Halloween; Light
Concert. Score and
Part(s). Duration 1:45.
MakeMusic #00-50995.
Published by MakeMusic
(AP.50995). ISBN
9781470665289. UPC:
038081583518.
English. Experience
the paranormal in this
spine-tingling work by
Timothy Loest that
includes spooky sound
effects, unexplained
noises that interrupt
frightful melodies, and
even a hint of
Mussorgsky's Night on
Bald Mountain. Pranks of
the Pesky Poltergeist is
destined to be the hit of
your fall or spring
concert. Simply
suspenseful, yet
delightfully dreadful!
(1:45). $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pranks of the Pesky Poltergeist Orchestre d'harmonie [Conducteur] - Débutant MakeMusic
Concert Band - Grade 1 SKU: AP.50995S Composed by Timothy Loest. Concert ...(+)
Concert Band - Grade 1
SKU: AP.50995S
Composed by Timothy
Loest. Concert Band;
Performance Music
Ensemble; Single Titles.
MakeMusic Developing
Band. Halloween; Light
Concert. Score. Duration
1:45. MakeMusic
#00-50995S. Published by
MakeMusic (AP.50995S).
ISBN 9781470665296.
UPC: 038081583525.
English. Experience
the paranormal in this
spine-tingling work by
Timothy Loest that
includes spooky sound
effects, unexplained
noises that interrupt
frightful melodies, and
even a hint of
Mussorgsky's Night on
Bald Mountain. Pranks of
the Pesky Poltergeist is
destined to be the hit of
your fall or spring
concert. Simply
suspenseful, yet
delightfully dreadful!
(1:45). $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Halloween Costumes Piano seul - Débutant Alfred Publishing
By Tom Gerou. For Piano. Piano Solo; Sheet; Solo. Signature Series. Fall; Hallow...(+)
By Tom Gerou. For Piano.
Piano Solo; Sheet; Solo.
Signature Series. Fall;
Halloween. Early
Elementary. 4 pages.
Published by Alfred Music
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
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