Composed by Gwyneth W. Walker (1947-). 21st Century, Justice/Peace/Social Concerns, Prayer. Octavo. Duration 1 minute, 45 seconds. E.C. Schirmer Publishing #8730. Published by E.C. Schirmer Publishing

Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 pages. Published by Alfred Publishing.

Composed by Matthew Emery. Arranged by Vladimir Slujka. This edition: Saddle stitching. Sheet music. Pavane Choral. A Cappella, Concert. Octavo. 1547. 8 pages. Pavane Publishing #P1547. Published by Pavane Publishing

SATB divisi a cappella Choral (SATB a cappella)

SKU: HL.1424341

Arranged by Michael A. Jones. Gentry Publications. Octavo. Duration 145 seconds. Gentry Publications #JG2732. Published by Gentry Publications (HL.1424341).

UPC: 196288200611.

Disco ver the lesser-known gem “He's Just the Same Today” by Michael A. Jones in the Jason Max Ferdinand Choral Series. It's an accessible yet captivating spiritual arrangement that brings a fresh energy to your repertoire. With moments of limited divisi and extended vocal ranges, this piece offers an exhilarating challenge for choirs. Closing your concert with this dynamic piece guarantees a standing ovation, leaving your audience moved by its glorious sound!

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

Composed by J. Rosamond Johnson. Arranged by Heather Sorenson. Shawnee Sacred. Concert, General Worship, Sacred. Octavo. 12 pages. Duration 285 seconds. Published by Shawnee Press

The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

Just Jazz Real Book - Bb Edition. (B-Flat Edition). For Bb instrument and voice. This edition: B-Flat Edition. Fake Book. Just Real Books Series. Jazz. Difficulty: easy-medium to medium. Fakebook (spiral bound). Introductory text, vocal melody, lyrics, chord names, discography and black and white photos. 400 pages. Published by Alfred Music Publishing

Piano/Keyboard

SKU: HL.1459768

By Various. Easy Piano Songbook. Pop. Softcover. Published by Hal Leonard (HL.1459768).

ISBN 9798350126341. UPC: 196288211044. 9.0x12.0 inches.

Featuring songs from your favorite artists like Olivia Rodrigo, Miley Cyrus, and Billie Eilish, this collection is perfect for beginning piano players who have the basics down and are ready to play their favorite songs! This songbook features 12 chart-topping hits arranged for easy piano with lyrics and chord names. Songs include: Can't Catch Me Now (Olivia Rodrigo) (from The Hunger Games: The Ballad of Songbirds and Snakes) • Flowers (Miley Cyrus) • For a Moment (from Wonka) • Fortnight (Taylor Swift) • I'm Just Ken (from Barbie) • Now and Then (The Beatles) • Peaches (Jack Black) (from The Super Mario Bros. Movie) • Thank God I Do (Lauren Daigle) • This Wish (from Disney's Wish) • Turn the Lights Back On (Billy Joel) • Vampire (Olivia Rodrigo) • What Was I Made For? (Billie Eilish) (from Barbie).

Choral (ShowTrax CD)

SKU: HL.285091

Composed by Doc Pomus and Mort Shuman. Arranged by Mac Huff. Pop Choral Series. Doo-Wop, Oldies, Pop, Show Choir. CD. Duration 160 seconds. Published by Hal Leonard (HL.285091).

UPC: 888680879976. 5.0x5.0x0.178 inches.

First recorded by Ben E. King and the Drifters in 1960 this easy listening love song is here set in a doo wop style that harkens back to the 1950s with finger snaps, a doo wop bass line and a feature for a soloist who can really bring the style. The instrumental accompaniment for 2 trumpets, tenor and baritone saxophones, trombone and rhythm section is just as stylish as the vocals and together a scene with poodle skirts, bobby sox, duck tail hairstyles and all things cool from the period is set.

Piano - easy to intermediate

SKU: HL.49045014

For Piano. Composed by Nicholas Lens. This edition: Saddle stitching. Sheet music. Piano. Classical, Etude. Softcover. 86 pages. Duration 75'. Schott Music #ED 22049. Published by Schott Music (HL.49045014).

ISBN 9790001202114. 9.0x12.0 inches.

The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'.

Band Bass Clarinet in Bb, Bass Drum), Bassoon, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Crash Cymbals), Euphonium, Euphonium T.C. in Bb, Flute 1, Flute 2, Horn 1 in F, Horn 2 in F, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe and more. - Grade 3.5

SKU: CF.CPS242F

Composed by Peter Sciaino. Sws. Cps. Full score. 16 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CPS242F. Published by Carl Fischer Music (CF.CPS242F).

ISBN 9781491157947. UPC: 680160916542. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS242

Composed by Peter Sciaino. Folio. Cps. Set of Score and Parts. 4+4+2+4+4+4+2+2+2+2+2+2+4 +4+4+2+2+3+3+3+2+4+1+1+1+ 2+1+16 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CPS242. Published by Carl Fischer Music (CF.CPS242).

ISBN 9781491157930. UPC: 680160916535. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Standards. Softcover. 802 pages. Published by Hal Leonard

Voice and Accompaniment

SKU: BT.MUSM570361922

By Michael Hooper. Book Only. 4 pages. University of York Music Press #MUSM570361922. Published by University of York Music Press (BT.MUSM570361922).

English.

The song repertoire has its origins in the late nineteenth century when every household had a piano and for much of the twentieth century, singers and their pianist collaborators were able to create recital programmes from a deep reservoir of European and North American song. The recital genre became more sophisticated as the century progressed and metamorphosed from a miscellaneous collection of lollipops to something altogether more sophisticated, often featuring elaborate themes which would enable the music to be presented in a variety of new contexts. In the twenty first century opportunities for recitalists are fewer and programmes still tend to focus on the much-loved butwell-explored repertoire. We hope this collection will contribute to a broadening of possibilities for recitalists or anyone who just wants something new to sing. There are several songs for voice and piano but some require other instruments. There is a wide range of styles. We have resisted the temptation to grade them by difficulty, as our criteria were more broadly performative and musical rather than didactic. All selected composers have a particular sympathy for the singing voice, so there is nothing that cannot be sung by a competent performer. The songs generally have a designated voice type, but this shouldn't be thought of as prescriptive; they are designed to be flexible and to offer the maximum opportunity for creative interpretation. They range from the curious and quirky to the virtuosic and challenging, the intense and mysterious to the sad and the light-hearted. We hope that many performers will find their tastes represented here. Compiled by David Blake and John Potter. Edited by Michael Hooper.

Concert Band Wind Band

SKU: AP.12-0571570054

Composed by Gavin Higgins. 5 or More; Performance Music Ensemble; Solo Small Ensembles; Wind Band. Faber Edition: Faber Wind Band Series. 20th Century; Masterwork. Score. Faber Music #12-0571570054. Published by Faber Music (AP.12-0571570054).

ISBN 9780571570058. English.

Composer's note:

Coogee Funk was inspired by a trip to Sydney, Australia. I had decided on a whim to travel to OZ and, after a lot of busking, managed to save up enough money. Once there I fell in love with the city instantly. The hedonistic mix of bars, beach and islands coupled with the desolate countryside and mountains was totally inspiring. I began sketching some ideas for this piece within a few days of arriving in Australia.

The piece has three main sections with a short coda at the end of the work.

The first part is fast and furious, loosely inspired by some of our more interesting nights out in the city. The second, a far more lyrical section featuring offstage saxophones and solo flugel horn is rather nautical in flavor with just a moment of nausea. The third is a funk explosion that gradually rears out of control with a funk fugue, of sorts.

The piece ends darkly with a lonely horn solo, sadly slipping into a silent void.

A Kind of Miniatures / Panta Rhei. By Lutz Gerlach. For Piano. Solos. AMA Verlag. Contemporary. Level: Beginning-Intermediate. Book. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3899220102.

By Marjan Helms. For SA Choir, piano. Choral music. Level: Medium. Published by Santa Barbara Music Publishing. (SBMP 517)

Arranged by and ed. Robert Schultz. For Piano. Piano - Five Finger Collection. Movie; TV. Level: Five Finger. Book. 72 pages. Published by Alfred Publishing.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Accordion; Guitar

SKU: HL.49032022

6 Swing-Stucke. Composed by Karlheinz Krupp. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 32 pages. Schott Music #ED 6050-10. Published by Schott Music (HL.49032022).

ISBN 9790001064835.

Acco rdion and Guitar.

Choral (SATB)

SKU: HL.301392

Composed by Rosephanye Powell. Shawnee Press. Concert, Contest. Octavo. Duration 210 seconds. Published by Shawnee Press (HL.301392).

ISBN 9781540064189. UPC: 888680964603. 6.75x10.5x0.029 inches.

Jack London's text has been masterfully set by Rosephanye Powell who fills it with a variety of sounds from lilting joy to moments of spoken thoughts to melancholy reflection. The piano accompaniment is dynamic on its own yet supportive of the well-crafted vocal writing. A superb piece for contest and concert.