Orchestra - Grade 3

SKU: AP.43785S

Composed by Michael Hopkins. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Score. 20 pages. Duration 6:20. Belwin Music #00-43785S. Published by Belwin Music (AP.43785S).

UPC: 038081505077. English.

Written to honor the victims of the 2012 Sandy Hook School shooting that shattered the town but not their spirit, this piece will provide the needed mood for any commemorative time or serve as an expressive piece for a festival. (6:20).

Concert Band - Grade 2.5

SKU: AP.46664S

Composed by Chris M. Bernotas. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Score. 24 pages. Alfred Music #00-46664S. Published by Alfred Music (AP.46664S).

UPC: 038081532783. English.

Fierce and explosive with its intensity and rhythmic drive, Shattered is relentless in its forward momentum and rhythmic interplay between all winds and percussion. Students will be energized and engaged from the very first beat as strong dynamics, clear articulation, and rhythmic precision are all paramount.

Orchestra - Grade 3

SKU: AP.43785

Composed by Michael Hopkins. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Concert String Orchestra. Score and Part(s). 126 pages. Duration 6:20. Belwin Music #00-43785. Published by Belwin Music (AP.43785).

UPC: 038081505060. English.

Written to honor the victims of the 2012 Sandy Hook School shooting that shattered the town but not their spirit, this piece will provide the needed mood for any commemorative time or serve as an expressive piece for a festival. (6:20).

Concert Band - Grade 2.5

SKU: AP.46664

Composed by Chris M. Bernotas. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Score and Part(s). 280 pages. Alfred Music #00-46664. Published by Alfred Music (AP.46664).

UPC: 038081532776. English.

Fierce and explosive with its intensity and rhythmic drive, Shattered is relentless in its forward momentum and rhythmic interplay between all winds and percussion. Students will be energized and engaged from the very first beat as strong dynamics, clear articulation, and rhythmic precision are all paramount.

Second Edition. Composed by Danny Elfman. This edition: Paperback/Softcover. Sheet music. Study score. Composed 1989. 392 pages. Omni Music Publishing #OMNI 50797. Published by Omni Music Publishing

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Oversized spiral-bound score. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Extra full score. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Score and set of parts. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

Mezzo-Soprano, Orchestra

SKU: HL.14010207

Composed by Brian Elias. Music Sales America. 20th Century. Score. Composed 2002. 128 pages. Chester Music #CH59162. Published by Chester Music (HL.14010207).

ISBN 9780711924925. UPC: 196288152422. 9.0x12.0x0.306 inches.

Elias: I first came across Irina Ratushinskaya's poetry when the collection 'No, I'm Not Afraid' was published in England in early May 1986. The poems, the various circumstances in which they were written and the poet's integrity, commitment and appalling situation (she was still imprisoned) all had a tremendous impact upon me. I was drawn inexorably into the world she describes so vividly. The powerful imagery of resistance, the acceptance of shattering realities and the fantasies of different kinds of escape made poetry of truly universal significance and urgency, and the idea of a setting for voice and large orchestra followed immediately. Each of the settings (in Russian) is self-contained and quite different in mood and orchestration. However, I consider the songs as one piece, and the whole cycle is performed without a break. All the basic musical material, themes and motifs for the entire work are stated in the first few pages, and the order of the poems was chosen to provide an overall musical and dramatic shape that attempts to link them together and to reflect more than the immediate meaning of the individual poems.

By Tom De Haes. (Score). SCHERZANDO CONCERT BAND. 56 pages. Published by Scherzando.

(Opera in Three Parts). Composed by George Benjamin, text by Martin Crimp. For Voice. Masterworks; Score; Vocal (Opera) Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Arranged by Brian Balmages. For concert band. FJH Developing Band. Grade 1.5-2. Score and parts. Duration 3 minutes, 30 seconds. Published by The FJH Music Company Inc

By Tom De Haes. (Score and Parts). SCHERZANDO CONCERT BAND. Published by De Haske Publications.

Brass Band - Grade 3

SKU: BT.GOB-000495-030

Composed by Andrew R. Mackereth. Set (Score & Parts). 22 pages. Gobelin Music Publications #GOB 000495-030. Published by Gobelin Music Publications (BT.GOB-000495-030).

From the composer:

High Flyers are regarded as people with promise and potential.They are winners.
This is music for winners.

The title, as well as being a play-on-words, implies the nature of the work. It is a bright, optimistic, and upbeat piece attempting to depict an exhilarating ride on flying carpet.
The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights, leading to a hint of a first theme in the horns at Fig. B.
The first four notes provide the thematic material for the whole work: C F G A.
A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme.
Fig. E sees the music of the opening bars fully realised, with flourishes from the euphonium and baritones representing swirling clouds, shooting stars, or passing birds in flight.
The same subject is developed into a lyrical second theme with a new lush harmonic treatment, evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.
The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones.
This figure suggests for the first time that there may be trouble ahead. In fact, there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.
A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure.
The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

Fanfare Band - Grade 6

SKU: BT.DHP-1084436-020

Composed by Jan de Haan. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2008. De Haske Publications #DHP 1084436-020. Published by De Haske Publications (BT.DHP-1084436-020).

9x12 inches. English-Dutch.

On average, about eight thousand (mostly light) earthquakes occur worldwide each day. Composer Jan de Haan has always been fascinated by this natural phenomenon. Earthquake portrays the beautiful South-American peninsula, Isla Iberi which lies directly on a major fault line. The peace and tranquility is shattered by a major tremor and the terrified people flee in fear. In addition to showing the earthquakes destructive power, Earthquake also conveys the courage and faith of the industrious people of Isla Iberia, as they energetically start the reconstruction of their beloved residential area. Earthquake is dedicated to the memory of all victims of the devastating Asiantsunami which occurred on 26 December 2004.

Earthquake is een indrukwekkende en contrastrijke programmatische compositie over de impact van een zware aardbeving. De muziek is net zo imposant als het natuurgeweld zelf - en net zo aangrijpend als de ervaring van de mensendie het meemaken. Earthquake was het verplichte werk voor de hoogste divisie van de Nederlandse Brassbandkampioenschappen 2005.

Earthquak e ist eine beeindruckende, emotionale und kontrastive thematische Komposition über die Naturgewalt eines heftigen Erdbebens.

Earthquake (“Tremblement de terre”) résume la fascination de Jan de Haan pour les séismes, phénomènes naturels souvent superficiels, mais quelques fois destructeurs et meurtriers. La musique est aussi impressionnante que les forces de la nature, aussi émouvante que le désespoir des hommes.

Fanfare Band - Grade 6

SKU: BT.DHP-1084436-120

Composed by Jan de Haan. Sovereign Series. Concert Piece. Score Only. Composed 2008. 100 pages. De Haske Publications #DHP 1084436-120. Published by De Haske Publications (BT.DHP-1084436-120).

9x12 inches. English-Dutch.

On average, about eight thousand (mostly light) earthquakes occur worldwide each day. Composer Jan de Haan has always been fascinated by this natural phenomenon. Earthquake portrays the beautiful South-American peninsula, Isla Iberi which lies directly on a major fault line. The peace and tranquility is shattered by a major tremor and the terrified people flee in fear. In addition to showing the earthquakes destructive power, Earthquake also conveys the courage and faith of the industrious people of Isla Iberia, as they energetically start the reconstruction of their beloved residential area. Earthquake is dedicated to the memory of all victims of the devastating Asiantsunami which occurred on 26 December 2004.

Earthquake is een indrukwekkende en contrastrijke programmatische compositie over de impact van een zware aardbeving. De muziek is net zo imposant als het natuurgeweld zelf - en net zo aangrijpend als de ervaring van de mensendie het meemaken. Earthquake was het verplichte werk voor de hoogste divisie van de Nederlandse Brassbandkampioenschappen 2005.

Earthquak e ist eine beeindruckende, emotionale und kontrastive thematische Komposition über die Naturgewalt eines heftigen Erdbebens.

Earthquake (“Tremblement de terre”) résume la fascination de Jan de Haan pour les séismes, phénomènes naturels souvent superficiels, mais quelques fois destructeurs et meurtriers. La musique est aussi impressionnante que les forces de la nature, aussi émouvante que le désespoir des hommes.

Choral (Studiotrax CD)

SKU: HL.35029316

StudioTrax CD. Composed by Heather Sorenson and Joseph M. Martin. Shawnee Sacred. Healing, Lent, Sacred. CD only. Published by Shawnee Press (HL.35029316).

UPC: 884088952662. 5x5 inches. Joseph M. Martin/Heather Sorenson.

Uses:< /b> Lent, General, Healing

Scripture: Isaiah 64:8; Jeremiah 18:1-6; Luke 4:18; Job 42:10

This dramatic vocal tableau is a heart-centric tone poem that reaches deep to convey a message of hope and grace. The text uses the imagery of a stained glass window shattered by life's journey, made beautiful again by the Master Artist's touch. The music is fragile and vulnerable, and acts as a soundtrack to this message of restoration. The beautiful colors of the optional orchestration tug at the spirit with tender lines of deep expression and decorate the flowing piano writing with sensitivity. Score and Parts (hn, perc 1-2, vc, synth) available as a digital download.

Brass Band - Grade 3

SKU: BT.GOB-000495-130

Composed by Andrew R. Mackereth. Score Only. 22 pages. Gobelin Music Publications #GOB 000495-130. Published by Gobelin Music Publications (BT.GOB-000495-130).

From the composer:

High Flyers are regarded as people with promise and potential.They are winners.
This is music for winners.

The title, as well as being a play-on-words, implies the nature of the work. It is a bright, optimistic, and upbeat piece attempting to depict an exhilarating ride on flying carpet.
The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights, leading to a hint of a first theme in the horns at Fig. B.
The first four notes provide the thematic material for the whole work: C F G A.
A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme.
Fig. E sees the music of the opening bars fully realised, with flourishes from the euphonium and baritones representing swirling clouds, shooting stars, or passing birds in flight.
The same subject is developed into a lyrical second theme with a new lush harmonic treatment, evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.
The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones.
This figure suggests for the first time that there may be trouble ahead. In fact, there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.
A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure.
The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â� ��If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

(Movements I and II Arranged for Clarinet in Bb and Piano). Composed by Igor Fyodorovich Stravinsky. Arranged by David Dutkanicz. For Bb clarinet, piano. 8 2 pages. Duration 7 minutes. Published by Carl Fischer

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041L

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Large Score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041L. Published by Theodore Presser Company (PR.11442041L).

UPC: 680160687039.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.