| Jewish Folksong Suite Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 4 SKU: BT.DHP-0930521-146 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 4 SKU:
BT.DHP-0930521-146
Composed by Roland
Kernen. Inspiration
Series. Concert Piece.
Score Only. Composed
1993. De Haske
Publications #DHP
0930521-146. Published by
De Haske Publications
(BT.DHP-0930521-146).
Die Jewish
Folksong Suite von
Roland Kernen besteht aus
drei Sätzen, die auf
traditionellen
jüdischen Volksliedern
basieren. Der
charakteristische Klang
dieser Melodien ist
deutlich hörbar und
macht aus dieser Suite
ein ganz besonderes
Werk. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jewish Folksong Suite Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0930521-020 Composed by Roland Kernen....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0930521-020
Composed by Roland
Kernen. Inspiration
Series. Set (Score &
Parts). Composed 1993. De
Haske Publications #DHP
0930521-020. Published by
De Haske Publications
(BT.DHP-0930521-020).
Die Jewish
Folksong Suite von
Roland Kernen besteht aus
drei Sätzen, die auf
traditionellen
jüdischen Volksliedern
basieren. Der
charakteristische Klang
dieser Melodien ist
deutlich hörbar und
macht aus dieser Suite
ein ganz besonderes
Werk. $176.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Best of Jewish Folksongs Piano, Voix et Guitare [Partition] Tara Publications
Edited by Velvel Pasternak. For Piano/Vocal/Guitar. Tara Books. Jewish. Softcove...(+)
Edited by Velvel
Pasternak. For
Piano/Vocal/Guitar. Tara
Books. Jewish. Softcover.
125 pages. Published by
Tara Publications
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Anthology of Classic Jewish Folksongs Ligne De Mélodie, Paroles et Accords Tara Publications
Edited by Velvel Pasternak. For Melody/Lyrics/Chords. Tara Books. Softcover. 302...(+)
Edited by Velvel
Pasternak. For
Melody/Lyrics/Chords.
Tara Books. Softcover.
302 pages. Published by
Tara Publications
$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Slavia Cd Orchestre d'harmonie Hal Leonard
| | |
| Chiribim Chiribom Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9525 Composed by Jewish Folk Song. Arra...(+)
Choral SSA choir, piano
SKU: CF.CM9525
Composed by Jewish Folk
Song. Arranged by David
Neches. Fold. Performance
Score. With Standard
notation. 12 pages. Carl
Fischer Music #CM9525.
Published by Carl Fischer
Music (CF.CM9525).
ISBN 9781491150573.
UPC: 680160908073. 6.875
x 10.5
inches. Treble
ensembles of all sizes
will enjoy singing
Chiribim Chiribom, a
Jewish folksong sung the
world over. The text is
mostly in Hebrew
(pronunciation guide
included), and the title
refrain is tons of fun to
sing as it undergoes
delightful melodic
variations in all the
parts. Sure to be a
memorable addition to any
concert program. Also
available for SATB Voices
(CM9464). $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sanctuary Piano Trio: piano, violon, violoncelle Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.114418250 Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano SKU:
PR.114418250 Composed
by Stacy Garrop.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2013. 40+16+16
pages. Duration 23
minutes. Theodore Presser
Company #114-41825.
Published by Theodore
Presser Company
(PR.114418250). UPC:
680160640959. 9 x 12
inches. In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G. $43.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sanctuary Piano Trio: piano, violon, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music Violin, cello, Piano SKU: PR.11441825S Composed by Stacy Ga...(+)
Chamber Music Violin,
cello, Piano SKU:
PR.11441825S Composed
by Stacy Garrop.
Contemporary. Score. With
Standard notation.
Composed 2013. 40 pages.
Duration 23 minutes.
Theodore Presser Company
#114-41825S. Published by
Theodore Presser Company
(PR.11441825S). UPC:
680160643745. 9 x 12
inches. In 2011,
Barbara Garrop, my
mother, commissioned me
to write a piano trio in
memory of Norman Garrop,
my father, who passed
away about thirty years
ago. When I started
brainstorming about
topics for the piece, I
found it difficult to
recall many moments of my
early life involving my
father. Too many years
had passed, and the
memories that I could
summon were of achild
looking up to her father,
not an adult relating to
an equal. However, while
collecting stories of my
father from various
family members, along
with discovering a number
of objects that had once
belonged to him and that
I had stored away in
boxes decades ago, I
began to realize that
this piece wasn't so much
about my father as it was
about my re-discovering
the man that he was: a
loving husband and dad
who cared deeply about
his family and his
passions (which included
bike riding, collecting
coins, strumming our
guitar, playing baseball,
watching football games,
entertaining people,
helping to run local
theater and puppet
productions, and carving
objects out of wook); an
accountant who dreamed of
a better future: a
treasurer of our local
synagogue; an early
advocate for computers
(we owned an Apple II+);
and a pranster with a
great sense of humor.
Ultimately, I decided to
musically tell the story
of my search for these
memories. In the first
movement (Without), a
child calls out in a
sing-song voice,
searching for her lost
parent. This search
intesifies over the
course of the movement
through a series of
themes, including a
stepping motif in which a
two-note progression
steadily climbs higher, a
pseudo-jewish folksong,
and a passionate longing
theme. The child's search
becomes increasingly
intense throughout the
movement, calling out
fervently and repeatedly
to the parent; the
movement ends in a moment
of great tnesion and
uncertainty. The second
movment (Within) quietly
opens with the lost
parent finally answering,
represented by a solo
cello; the child (now
personified by the
violin) has found the
parent within the
sanctuary of her own
heart. This movement
highlights the joy and
solemnity of this
beautiful discovery.
-S.G. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jewish Folksong Suite Score And Parts Orchestre d'harmonie Hal Leonard
De Haske Concert Band Full Set. Size 9x12 inches. 16 pages. Published by Hal Leo...(+)
De Haske Concert Band
Full Set. Size 9x12
inches. 16 pages.
Published by Hal Leonard.
$147.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chiri Bim Chiri Bam Chorale SATB Carl Fischer
Arranged by David Neches. Octavo. With Standard notation. 12 pages. Duration 2 m...(+)
Arranged by David Neches.
Octavo. With Standard
notation. 12 pages.
Duration 2 minutes, 8
seconds. Carl Fischer
#CM09464. Published by
Carl Fischer (CF.CM9464).
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Shalom Chorale SATB SATB A Cappella [Octavo] Hinshaw Music Inc.
Composed by Elio Bucky. Hinshaw Concert. Octavo. 14 pages. Hinshaw Music Inc. #H...(+)
Composed by Elio Bucky.
Hinshaw Concert. Octavo.
14 pages. Hinshaw Music
Inc. #HMC2496. Published
by Hinshaw Music Inc.
(HL.8764916).
$2.65 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival Songs [Conducteur et Parties séparées]
Edited by Martha Lepow. For SATB recorders, keyboard and optional voice (5 instr...(+)
Edited by Martha Lepow.
For SATB recorders,
keyboard and optional
voice (5 instruments).
Song. Jewish Folksong
Series. Contemporary.
Easy. Score and parts.
Published by Loux Music
Company
$10.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Jewish Folksong Suite Score Only Orchestre d'harmonie Hal Leonard
(score). De Haske Concert Band Full Set. Size 8.3x11.7 inches. Published by Hal ...(+)
(score). De Haske Concert
Band Full Set. Size
8.3x11.7 inches.
Published by Hal Leonard.
$32.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best of Israeli Folksongs Tara Publications
An Anthology. Arranged by Velvel Pasternak. Tara Books (Tara: The Best in Jewish...(+)
An Anthology. Arranged by
Velvel Pasternak. Tara
Books (Tara: The Best in
Jewish Music). Jewish.
Size 9x12 inches. 208
pages. Published by Tara
Publications.
$29.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jewish Folksongs Universal Edition
4-5pt Choir SATB and percussion, OR 6pt Choir SATB choir, OR alto voice, tenor v...(+)
4-5pt Choir SATB and
percussion, OR 6pt Choir
SATB choir, OR alto
voice, tenor voice and 4
instruments SKU:
PR.UE013680 Composed
by Anonymous. Arranged by
Wilhelm Keller. Carmina
Series, No.21. Part. With
Standard notation.
Universal Edition
#UE013680. Published by
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9783702442576. UPC:
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| Seder Songs Chorale SATB SATB Transcontinental Music
Arranged by Michael Isaacson. (SATB). Transcontinental Music Choral. Jewish. Si...(+)
Arranged by Michael
Isaacson. (SATB).
Transcontinental Music
Choral. Jewish. Size
7x10.5 inches. 22 pages.
Published by
Transcontinental Music
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| String Trio [Conducteur et Parties séparées] Bote and Bock
String Trio SKU: BT.SCHBB1400363 Three Studies on Jewish folksongs...(+)
String Trio SKU:
BT.SCHBB1400363
Three Studies on
Jewish folksongs. By
Heribert Henrich. By
Boris Blacher. Studies &
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Parts). 34 pages. Bote &
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Published by Bote & Bock
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| Der Rebbe Chorale SATB SATB Transcontinental Music
Arranged by Stanley Sperber. (SATB). Transcontinental Music Choral. Jewish. 15 ...(+)
Arranged by Stanley
Sperber. (SATB).
Transcontinental Music
Choral. Jewish. 15 pages.
Published by
Transcontinental Music
Publications.
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| Playing the Recorder: Folk Songs of Many Nations (an instructional method for all types of recorder) Flûte à Bec [Partition + CD] Music Minus One
For Recorder (soprano). Includes a high-quality printed music score and a compac...(+)
For Recorder (soprano).
Includes a high-quality
printed music score and a
compact disc containing
the accompaniments for
each piece. Published by
Music Minus One.
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| Benjamin Britten Bote and Bock
German SKU: HL.48024330 Die Aktuelle Biographie German. Boosey & H...(+)
German SKU:
HL.48024330 Die
Aktuelle Biographie
German. Boosey &
Hawkes Scores/Books.
Classical Reference,
German Edition.
Hardcover. 332 pages.
Bote & Bock #M202534847.
Published by Bote & Bock
(HL.48024330).
Benjamin
Britten ranks among the
most universal composers
in music history. His
oeuvre is characterized
by a deep
humanitarianism, while at
the same time testifying
to his fascination for
the ambivalent. Norbert
Abels presents the first
comprehensive guide to
Britten's life and work
in German. Based on his
many years as a renowned
opera dramaturg, he looks
especially at all facets
of the musical theatre
works by the 'Orpheus
britannicus' but also at
his songs, his sacred
works, the compositions
for children, his
musicfor film, theatre
and radio, as well as the
chamber music. This
profound overview
contains the most recent
biographical research as
well as classifications
in the history of ideas.
Norbert Abels, born in
1953, has been head
dramaturg of the Opera of
Frankfurt since 1997 and
guest dramaturg at
numerous international
theatres since 1985. He
studied literary studies
and musicology,
philosophy and Jewish
studies at the Frankfurt
GoetheUniversity. He is
professor at the Folkwang
Universitat der Kunste as
well as lecturer of world
literature at the
Mediacampus Frankfurt and
of cultural and theatre
history at the Frankfurt
Hochschule fur Musik und
Darstellende Kunst and at
the Frankfurt Johann
Wolfgang Goethe
University. Among his
publications are numerous
books on literary,
theatre and musical
theatre history,
including Ohrentheater
(2009) and Notenlese
(2016). In addition, he
has published books on
Britten, Buchner,
Schnitzler, Henze, Verdi,
Wagner, and Werfel as
well as studies on
German-Jewish poetry.
Since 2006, Norbert Abels
has been a member of the
Deutsche Akademie der
Darstellenden Kunste
(German Academy of
Performing Arts). $50.00 - Voir plus => Acheter | | |
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