Arranged by Lisa DeSpain. Arr. Lisa DeSpain. For Jazz Ensemble. Jazz Ensemble. Jazz Band Series. Level: Medium Easy (grade III). Conductor Score. 16 pages. Published by Alfred Publishing.

Wind Instrument Solo. Composed by Robert W. Smith. Concert Band; Performance Music Ensemble; Single Titles. Belwin Symphonic Band. Part(s); Score. 136 pages. Belwin Music #00-BDM00018. Published by Belwin Music

By Luiz Bonfa. Arranged by Lisa Despain. By Luiz Bonfa / arr. Lisa DeSpain. For Jazz Ensemble. Jazz Ensemble. Jazz Band Series. Level: 3 (Medium) (grade 3). Conductor Score and Parts. 94 pages. Duration 3:55:00. Published by Alfred Publishing.

By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: Easy to Medium Easy (grade II-III). Conductor Score & Parts. 142 pages. Published by Alfred Publishing.

By K. Lee Scott. For unison voices/unison treble voices or 2-part women's voices/2-part treble voices, piano or organ or harp, optional C instrument. Christmas. Easy. Choral score. Published by MorningStar Music Publishers

Composed by Luiz Bonfa (1922-). Arranged by Kris Berg. Jazz Ensemble. Jazz Ensemble; Part(s); Score; SmartMusic. Premier Jazz Series. Jazz. Grade 4. 92 pages. Published by Belwin Music

By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Symphonic Band. Level: 4 (Medium) (grade 4). Conductor Score. 8 pages. Published by Alfred Publishing.

Jazz Ensemble - Grade 4

SKU: AP.40367S

Composed by Luiz Bonfa. Arranged by Kris Berg. Jazz Ensemble; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Premier Jazz Series. Jazz. Score. 24 pages. Duration 5:36. Belwin Music #00-40367S. Published by Belwin Music (AP.40367S).

UPC: 038081456072. English.

A wonderful tune with a rich texture and voicings. This is a solo vehicle for C, B-flat, E-flat or bass clef instruments with optional parts included for flute or vibes. Bossa nova tempo is 126 BPM and lead trumpet range is to written B above the staff. This chart was also commercially recorded by arranger Kris Berg's Metroplexity Big Band, This Time/Last Year. This title is available in MakeMusic Cloud.

By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: 2.5 (grade 2.5). Conductor Score. 12 pages. Published by Alfred Publishing.

By Brian Hogg. Concert Band. Brolga Music Young Band Series. Level: Grade 2. Score and set of parts. Duration 2:34. Published by Brolga Music Publishing Company (Australian import).

Orchestra String Orchestra - Grade 1

SKU: FJ.ST6380S

Score Only. Composed by Lauren Bernofsky. Series; String Orchestra. FJH Beginning Strings. Score. Duration 1:15. The FJH Music Company Inc #98-ST6380S. Published by The FJH Music Company Inc (FJ.ST6380S).

English.

This all-pizzicato work uses easy aleatoric devices to create the gentle sound of rainfall. Out of the rain emerges a simple accompaniment line that is soon joined by an endearing melody. A wonderful way to focus on good left-hand position while making great music!

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5

Concert Band (Score) - Grade 2

SKU: HL.4003190

Composed by Robert Longfield. MusicWorks Grade 2. Folk. Published by Hal Leonard (HL.4003190).

UPC: 884088656447. 9.0x12.0x0.049 inches.

Inspired by the mountains of West Virginia, Valley Mist portrays a beautiful scene of cloud-like mist as it flows gently around the hills encompassing the entire valley in an atmosphere of peace and tranquility. Quoting the Appalachian folk song “Down in the Valley”, this sensitively scored work includes an optional gentle rain effect with the use of finger snaps. Sure to be an enjoyable change of pace for any program. Dur: 3:35.

String Quartet (Score & Parts)

SKU: HL.49046188

Score and Parts. Composed by Lucio Franco Amanti. String Ensemble. Classical. Softcover. 56 pages. Duration 840 seconds. Schott Music #ED22674. Published by Schott Music (HL.49046188).

ISBN 9781540051684. UPC: 888680938703. 9.0x12.0 inches.

When Cuarteto Casals approached me with the idea of illuminating Beethovens quartets anew, you can imagine the many thoughts and feelings that where going through my mind: what a joy, what a great honor What an intriguing head-scratcher! How can you possibly shine a new light on something that is already perfect? Weeks, months went by in search of a common ground between the Master and myself until I finally found it in the realization that a word lays hidden in the St. Johns hymn that gave musical notes their original name: Re, Sol, Ut, Io (D, G, C, B in English music notation) Perfect! “Resolutio” in Latin means both the resolution of aproblem and the re-solution: a re-blend of many elements that will eventually coagulate to make something new. There was finally themelodic and a rhythmical canvas for my piece. On this canvas I wrote the story of a funny little contest, played on a sunny Mediterranean square, between street musicians and Cuarteto Casals just minutes before they are about to go on stage to perform Beethovens Harp Quartet. After all the characters, each in his own way, had the chance to tell their story, a gentle rain starts to fall, dissolving (Re-solving) again the music sheet to eventually leave us with just a white piece of paper for somebody else to continue the Work. (Lucio Franco Amanti).

SA choir and piano (Upper Voices - 2-part) - Very Easy

SKU: OU.9780193360044

Composed by Bob Chilcott. Upper Voices. Sacred, Choral Leaflet. Vocal score. 8 pages. Duration 3'. Oxford University Press #9780193360044. Published by Oxford University Press (OU.9780193360044).

ISBN 9780193360044. 10 x 7 inches.

For SA and piano This attractive setting of a text by Christina Rossetti combines a shapely melody with a gentle, rippling piano accompaniment. Ideal for Easter concerts and services.

Rhythm

SKU: LO.30-2439L

Composed by Matt Redman. Arranged by Craig Curry. Choral. Sacred Anthem, Christ the King, Eastertide, General, Lent, Palm/Palm-Passion Sunday. Score and parts. Lorenz Publishing Company #30/2439L. Published by Lorenz Publishing Company (LO.30-2439L).

UPC: 000308121230.

Accla imed arranger Craig Curry has transformed this popular praise and worship song into a terrific choral anthem for worship. The thoughtful text invites believers to visit the cross once again to reflect upon Christ’s wondrous love for humanity. Opening with an optional solo verse, the choral texture gradually thickens by verse until the rich and full choral acclamation on the final refrain. A gentle contemporary pop groove in the accompaniment supports the regular syncopation in the vocals and provides a solid foundation for soloist and full choir alike. Instrumentation: Keyboard, Guitar, Bass, and Drums.

Score and Parts Concert Band (Score and Parts) - Grade 4

SKU: HL.4008793

Composed by Richard L. Saucedo. MusicWorks Grade 4. Concert. Softcover. Duration 255 seconds. Published by Hal Leonard (HL.4008793).

UPC: 196288203414.

Dedic ated to legendary educator and conductor, Dr. Paula Crider, this dramatic work explores a variety of emotions and musical styles, honoring the heart and soul of the amazing PC! A wistful and tender opening features brief solos and poignant harmonies. The piece then builds gradually to a majestic climax before returning to the gentler strains from the opening. A welcome addition to the repertoire. (This publication includes an optional “DroneMap” rehearsal aid created by Michael Pote) Dur: ca. 4:15.

By Alan Bullard (1947-). For SA choir and piano/brass quintet/small orchestra (2 flute (II optional), oboe (optional), 2 clarinet (II optional), bassoon (optional), glockenspiel (optional), harp (optional), strings). This edition: X446. Upper Voices. Christmas Choral Leaflet. Vocal score. 8 pages. Duration 3'

By Benjamin Britten. (Vocal Score). Boosey and Hawkes Large Choral. Size 7.25x10.25 inches. 45 pages. Published by Boosey and Hawkes.

Composed by Matthew Owens. Vocal score. 4 pages. Duration 4.5'. Published by Oxford University Press (OU.9780193413405).

Arranged by Carrie Lane Gruselle. American Folk Tune. For String Orchestra. String Orchestra. Highland String Orchestra. Folk Song. Level: 2.5 (grade 2.5). Conductor Score and Parts. Published by Alfred Publishing.

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

SAB choir, voice soloist, keyboard accompaniment, guitar

SKU: GI.G-007895

Composed by Lorraine Hess. Christmastide, Advent, Holy Family, Epiphany. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #007895. Published by GIA Publications (GI.G-007895).

Bookended by strains from ADESTE FIDELIS, Lorraine has crafted a gentle and evocative piece to make clear the Christian mission to love and serve. The images present a faith in the living God that centers on discipleship. Scored for SAB, this would be ideal for your contemporary ensemble on your choir. Ed Bolduc has once again added his expertise in arranging to Lorraine's work to produce a piece that will become a favorite under your direction. The piano writing charms the listener as the intuitive vocal parts join to create a peace-filled composition that will engage your choir and enchant your assembly.

By Carter. For SSA Choir and Harp/Piano. W157. Published by Oxford University Press.

Concert Band - Grade 3.5

SKU: AP.81-CB224486

Composed by David Marlatt. Concert Band. Halloween. Score and Part(s). Duration 6:00. Eighth Note Publications #81-CB224486. Published by Eighth Note Publications (AP.81-CB224486).

ISBN 9781778930508. UPC: 685462030514. English.

Something has happened at the circus... the magician has hypnotized the entire audience and the circus isn't quite right. After a strange and frightening beginning, there is a gentle, yet peculiar rain that falls. A creepy theme in the tenor saxophone (interrupted by some terrifying screams) moves into the trapeze artists theme where they seem to encounter an accident. A short funeral procession leads back into the lone sneaky saxophone before the magic box is opened. This magic slowly evolves into a return to normality and back to The Greatest Show on Earth! Experience this spine-chilling circus with Carnival of Shadows by David Marlatt. (6:00).

Flute, Bassoon and Harp

SKU: BT.ALHE31254

Composed by Andre Jolivet. Classical. Set (Score & Parts). Heugel & Cie #ALHE31254. Published by Heugel & Cie (BT.ALHE31254).

French.

Pastoreles De Noël b y André Jolivet is a piece for Flute, Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality ofJolivet’ s work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability.

Pastore les De Noël f eatures four sections:L’é toile (the Star), Les Mages (the Wisemen), La Vierge et l’Enfant (the Virgin and the Child) and Entrée et Danse des Bergers (the Shepherds’ dance). Each of these parts describes a part oftheChristmas story, starting with the Flute and the Bassoon in a duet, followed by the entrance of the Harp to settle the first part. The second section is quieter, expressing the walk in the desert. The Virgin and the Child islike a lullaby and the piece finishes on a joyful dance to express happiness and devotion.

André Jolivet is a French composer who was really inspired by the Antiquity, and had a strong interest foratonality. He also wrote many chamber music pieces, eleven concertos, some orchestral and some vocal music.

Flute, Bassoon and Harp

SKU: HL.48187550

Composed by Andre Jolivet. Leduc. Classical. Set (Score & Parts). 20 pages. Heugel & Cie #HE31254. Published by Heugel & Cie (HL.48187550).

UPC: 888680850388. 9.0x12.5x0.112 inches.

“Chri stmas Pastoral by André Jolivet is a piece for Flute, Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality of Jolivet?s work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability. Christmas Pastoral features four sections: L?étoile (the Star), Les Mages (the Wisemen), La Vierge et l?Enfant (the Virgin and the Child) and Entrée et Danse des Bergers (the Shepherds? dance). Each of these parts describes a part of the Christmas story, starting with the Flute and the Bassoon in a duet, followed by the entrance of the Harp to settle the first part. The second section is quieter, expressing the walk in the desert. The Virgin and the Child is like a lullaby and the piece finishes on a joyful dance to express happiness and devotion. André Jolivet is a French composer who was really inspired by the Antiquity, and had a strong interest for atonality. He also wrote many chamber music pieces, eleven concertos, some orchestral and some vocal music.”.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-340-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 44 pages. Anglo Music Press #AMP 340-140. Published by Anglo Music Press (BT.AMP-340-140).

9x12 inches. English-German-French-Dut ch.

Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains

Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen

Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge.

Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.