| Rocking Pneumonia and the Boogie Woogie Flu Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. 2-Part Choir. Choral Oc...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. 2-Part
Choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale 3 parties TTB/TBB [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. Men's Choir. Choral Oct...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. Men's
Choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 4 to 6 business days | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale SATB SATB, Piano [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. SATB choir. Choral Octa...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. SATB
choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu [Pack instrumental] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. For SoundPax. This edit...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. For
SoundPax. This edition:
SoundPax. Choral Octavo;
Part(s). Pop Choral. 18
pages. Published by
Alfred Music Publishing
$30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marx: Wandrers Nachtlied; Phanomen Chorale SATB SATB Carus Verlag
| | |
| Boyz Nite Out (A Medley including Teenager in Love, Rockin Pneumonia and the Boogie Woogie Flu, and Gimme Some Lovin) [Octavo] - Intermédiaire Alfred Publishing
Arranged by Kirby Shaw. For Choir. (TBB). Choral Octavo. Pop Choral Series. Cho...(+)
Arranged by Kirby Shaw.
For Choir. (TBB). Choral
Octavo. Pop Choral
Series. Choral Octavo. 24
pages. Published by
Alfred Publishing.
Level: Moderate
(grade 3).
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pianomania: 20 Emotional Piano Pieces Piano seul [Partition + CD] Bosworth & Co.
Book/CD Pack Piano SKU: HL.14048329 Book with MP3 CD. Composed by ...(+)
Book/CD Pack Piano
SKU: HL.14048329
Book with MP3 CD.
Composed by Hans-Guenter
Heumann. Music Sales
America. Classical.
Softcover with CD.
Composed 2016. 88 pages.
Bosworth & Co. #BOE7852.
Published by Bosworth &
Co. (HL.14048329).
ISBN 9783865439543.
9.0x12.0x0.277 inches.
German. 20 easy and
medium difficulty pieces.
Minimal and New Age music
dominates these very
emotional compositions by
Hans-Gunter Heumann. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu CD Chorale [CD d'accompagnement] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. This edition: SoundTrax...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. This
edition: SoundTrax CD.
CD; Choral Octavo. Pop
Choral
$26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale 3 parties SAB, Piano Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. 3-Part Mixed Choir (SAB...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. 3-Part
Mixed Choir (SAB). Choral
Octavo. Pop Choral. 8
pages. Published by
Alfred Music Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 4 to 6 business days | | |
| Meghan Trainor : All About That Bass Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Promoting positive body image in the lyric, with a catchy melody and an infec...(+)
Promoting positive body
image in the lyric, with
a
catchy melody and an
infectious grove, this
pop
tune definitely has a bit
of
a '50s and '60s doo-wop
feel
that makes it refreshing.
With its throwback soul
beat, its body-positive
message couched in a cute
musical metaphor, and its
dance-filled,
candy-colored
video, it's become a
straight-up pop
phenomenon
loved by today's pop
culture. A very playable
arrangement with a fresh
touch! (1:45).
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Autour du chant et du rythme - Volume 4 Lemoine, Henry
Music teaching SKU: LM.27895 Composed by Jean-Paul Joly and Veronique Can...(+)
Music teaching SKU:
LM.27895 Composed by
Jean-Paul Joly and
Veronique Canonici.
Method, studies. Score.
Editions Henry Lemoine
#27895. Published by
Editions Henry Lemoine
(LM.27895). ISBN
9790230978958. BACH
: Recitatif - HAENDEL :
Joshua, Air de Kaleb -
HAYDN : Les Saisons,
Cavatine - SCHUMANN :
Resignation Op.83 n. 1 -
ROSSINI : Mi lagnera
tacendo - Petite messe
solennelle, Crucifixus -
BRAHMS : Ich legte mich
unter den Iindenbaum -
Ach wende diesen blick -
BIZET : Absence -
CHAUSSON : Serre d'ennui
- DEBUSSY : Ariettes
oubliees, C'est l'Extase
- PUCCINI : La Boheme, Mi
chiamano Mimi - BRITTEN :
extrait de Rejoice in the
Lamb - MACHAUT : Amours
me fait desirer -
MONTEVERDI - Lasciate mi
morire (5e livre de
madrigal) - HAYDN : Alles
hat seine zeit -
MENDELSSOHN : Aus der
motette Op.39 n. 3 -
SCHUMANN : Erste
Begegnung Op.74 n. 1 -
Liebesgram Op.74 n. 3 -
LISZT : Ave verum corpus
- BRAHMS : Phanomen Op.61
n. 3 - Am Strande Op.66
n. 3 - DEBUSSY : Il
pleure dan mon coeur -
L'Echelonnement des haies
- POULENC : Ave verum
corpus - STRAYHORN :
Lush-life. $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Flashback Sc/pts Full Score Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44011765 Composed by Jan ...(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44011765 Composed
by Jan de Haan. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2010. De Haske
Publications #1094779.
Published by De Haske
Publications
(HL.44011765). UPC:
884088896621. 9x12
inches.
English-German-French-Dut
ch. A flashback is
an interesting
psychological phenomenon:
a seemingly random
trigger can bring back
long-forgotten memories
from the subconscious
mind. The composer
underwent a similar
experience before writing
this piece. He was asked
to write a piece for The
National Youth Fanfare
Band in the Netherlands,
one which he heard
perform many years ago.
All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback ist ein
psychologisches Phanomen:
Eine Erfahrung weckt
scheinbar aus dem Nichts
die Erinnerung an lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plotzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phenomene psychologique.
Des evenements du passe,
imprimes dans la memoire
a long terme,
resurgissent comme une
reponse inconsciente et
soudaine a un stimulus
lie a une experience
anterieure.Cette
œuvre a ete composee
a l'occasion du
cinquantieme anniversaire
de l'Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-meme membre,
au cours des annees 1960.
Jeune musicien, il
eprouvait un profond
respect pour le chef
d'alors, Piebe Bakker
(1929-2002), un homme
passionne, avec un style
de direction tres
stimulant. En revenant
sur cette periode,
quarante ans apres, Jan
de Haan a revecu
lesnombreuses
interpretations de la
piece Deep
Harmony. La melodie
scintillante - extraite
d'un cantique anglais -
lui est alors apparue
comme un flash-back et
c'est comme un eclair
mental qu'il a choisi de
lui redonner vie dans le
passage final de cette
œuvre. $48.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flender/rauhe Schluessel Zur Musik Schott
(BR) SKU: HL.49041718 Neue Einblicke in die Welt der Musik. Compos...(+)
(BR) SKU:
HL.49041718 Neue
Einblicke in die Welt der
Musik. Composed by
Kurt Pahlen. This
edition: Paperback/Soft
Cover. Paperback. Serie
Musik. Das Buch versucht
in
allgemeinverstandlicher
Sprache dem spezifisch
europaischen Phanomen der
Geschichte von
musikalischen
Revolutionen, Konflikten
und Auseinandersetzungen
auf den Grund zu gehen.
301 pages. Schott Music
#SEM 8372. Published by
Schott Music
(HL.49041718). ISBN
9783254083722.
German. Musik ist
unverzichtbarer
Bestandteil der
menschlichen Kultur,
wirkt in vielfaltiger
Weise auf Individuum und
Gesellschaft. Musik hat
auch eine Geschichte:
Musikgeschichte ist ein
spezifisch europaisches
Phanomen. Es ist die
Geschichte von
musikalischen
Revolutionen, Konflikten
und Auseinandersetzungen.
Wenn im Ruckblick diese
Geschichte als gradlinige
logische Fortentwicklung
erscheint, so ist dies
doch weitgehend die
Konstruktion
wissenschaftlicher
Theorien. Neuere
Erkenntnisse aus der
Musikethnologie,
-soziologie und
-psychologie haben
gezeigt, dass die
europaische
Musikgeschichte
eigentlich sehr
dramatisch verlaufen ist.
Dieses Buch versucht
diesen Konfliktstoffen
auf die Spur zu kommen.
Insofern gehen die
Autoren nicht
chronologisch vor,
sondern haben den Stoff
nach interessanten
Themengebieten
gegliedert. Die
Geschichte der Musik
erscheint im Kontext
geistiger und sozialer
Konflikte als echtes
Abenteuer, das von den
Autoren in packender und
allgemeinverstandlicher
Sprache vermittelt wird.
Ein Buch fur
Musikliebhaber, die an
musikalischem Grundwissen
interessiert sind. $19.99 - Voir plus => Acheter | | |
| As We Search - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Oboe, Percussion 1 and
more. - Grade 3.5 SKU:
CF.CPS254 Legend
of the “Brown
Mountain
Lightsâ€.
Composed by Joseph
Benjamin Earp. Set of
Score and Parts.
15+16+2+8+8+8+2+2+2+2+2+2
+4+4+4+2+2+3+3+3+2+4+1+1+
1+1+1+3 pages. Duration 5
minutes, 11 seconds. Carl
Fischer Music #CPS254.
Published by Carl Fischer
Music (CF.CPS254).
ISBN 9781491159811.
UPC:
680160918409. PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown
Mountain Lights†is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights†focuses on
one legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm.
5–6, 9–10,
17–18,
21–22,
41–42,
45–46,
76–77 and
80–81.The climax
of the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
Search.â€Â . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Graffiti Boosey and Hawkes
Study Score Ensemble (Score) SKU: HL.48024565 Large Ensemble Study Sco...(+)
Study Score Ensemble
(Score) SKU:
HL.48024565 Large
Ensemble Study Score.
Composed by Unsuk Chin.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 160 pages.
Duration 1680 seconds.
Boosey & Hawkes
#M060133718. Published by
Boosey & Hawkes
(HL.48024565).
Most of us,
when confronted with the
term graffiti, are likely
to associate it with the
rather desolate wall
scrawlings all over our
urban landscapes.
However, this is not the
whole picture: no less
artists than Klee, Miro,
Dubuffet, and Picasso
were interestedin it (the
latter painting examples
himself on Parisian
walls). In our time,
there is the highly
interesting and
controversial phenomenon
of Street Art, which has
occasionally wittily
succeeded in criticizing
the commercialization of
cities. At their best,
street artists have been
able to thwart the
expectations created by
omnipresent mass media
and by advertising - one
can find some
particularly remarkable
examples in metropolises
such as Berlin, Paris, or
New York. Though this was
the initial stimulus for
Graffiti, it finally
branched into rather
different directions: it
is only very loosely,
ifat all, connected to
the phenomenon of Street
Art (or to the visual
arts). The music is not
illustrative nor is it
programmatic and the main
idea was to compose a
music which is not
restricted as to time or
place, and which offers
strong contrasts between
different modes of
expression. The three
movements headings give a
hint of the changing
modes, moods, and
structures of the music.
The first movement,
Palimpsest,is
polydimensional and
many-layered; one can
hear allusions to a
multiplicity of styles.
The second movement,
Notturno urbano, forms a
strong contrast to the
hyperactive previous
movement. It starts with
distant and gradually
approaching bell-like
sounds, from which the
whole movement's musical
material is being
derived. The instruments
are often used in an
unconventional way: the
winds as well as the
strings employ extended
techniques, which
contributes to the
aloofness and the
mysteriousness of the
movement. The third,
highly virtuosic,
movement, is a kind of an
'urban passacaglia' (the
name of this musical form
actually derives from the
Spanish 'pasar una
calle', 'to walk along a
street'). It consists of
eight incisive chords,
which are played
continuously by the
brass, albeit always in a
different way. Two worlds
collide in this movement:
the brass attacks are
commented upon by
flitting interjections of
different instruments,
which are highly varied
in character and length.
As a whole, the musical
language of Graffiti
shifts between roughness
and refinement,
complexity and
transparency. It is rich
in contrast and
labyrinthine, neither
tonal nor atonal.
Graffiti calls for great
agility, virtuosity, and
constant changes of
perspective from the
musicians; each
instrument is being
treated as a soloist.
Graffiti was commissioned
by the Los Angeles
Philharmonic Association,
Barbican, London;
Orchestra Ensemble
Kanazawa, Kunststiftung
NRW and Ensemble
musikFabrik. It was first
performed on 26th of
February 2013 by the Los
Angeles Philharmonic New
Music Group conducted
b. $64.00 - Voir plus => Acheter | | |
| TemA Breitkopf & Härtel
Trio SKU: BR.EB-9459 Composed by Helmut Lachenmann. Chamber music; staple...(+)
Trio SKU:
BR.EB-9459 Composed
by Helmut Lachenmann.
Chamber music; stapled.
Edition Breitkopf. Music
post-1945. Sheet Music.
Composed 1968. 20 pages.
Duration 14'. Breitkopf
and Haertel #EB 9459.
Published by Breitkopf
and Haertel (BR.EB-9459).
ISBN 9790004189368.
10.5 x 14
inches. TemA was
written in the summer of
1968. In spite of
Ligeti's Aventures it may
be considered one of the
first compositions in
which the breathing plays
a role as an
accoustically transmitted
energy process (Holliger,
Globokar, Kagel, Schnebel
and Stockhausen in Hymnen
have already worked on
this phenomenon
independently of each
other and from different
points of view).
Moreover, temA marks for
me the first step into
that musique concrete
instrumentale in which
the mechanical conditions
of the sound production
are incorporated into the
composition. This
characterizes my later
pieces such as
Kontrakadenz, Air,
Pression etc. more
consistently. In temA,
unlike what happened in
my previous works, the
naturalistic extreme
cases were consciously
accepted but at the same
time integrated into a
very rigorous musical
context which was also to
give a new meaning to the
traditional playing
conceptions. The
violation of the tabus
felt in the nearly 70s
(not only regarding this
piece) lay to a less
degree in the phenomenon
of the sound deformation
(snoring, pressed
strings, soundless
blowing etc.), since such
an alienation was
perfectly tolerated as an
humoristic, dadaistic or
expressionistic element.
Rather the shock was
caused by the technical
logic of the movements
which rendered relative
the sheer surrealistic
effect and had to be
taken seriously instead
of in an humoristic
way.(Helmut Lachenmann,
translation: Roger
Clement)CD:Linda Hirst,
Martin Fahlenbock, Lucas
Fels CD Montaigne Auvidis
MO 782023ensemble
phorminxCD WER 6682
2Bibliography:Hiekel,
Jorn Peter: Escaped from
Paradise? Construction of
Identity and Elements of
Ritual in Vocal Works by
Helmut Lachenmann and
Giacinto Scelsi, in:
Vocal Music and
Contemporary Identities.
Unlimited Voices in East
Asia and the West (=
Routledge Research in
Music 3), hrsg. von
Christian Utz und
Frederick Lau, London und
New York: Routledge 2013,
pp. 158-174.ders.: Helmut
Lachenmann und seine
Zeit, Laaber: Laaber
2023, S.
202-213.Meyer-Kalkus,
Reinhart: Klangmotorik
und verkorpertes Horen in
der Musik Helmut
Lachenmanns, in: Der Atem
des Wanderers. Der
Komponist Helmut
Lachenmann, hrsg. von
Hans-Klaus Jungheinrich,
Mainz: Schott 2006, pp.
91-110.ders.: Stimme und
Atemsyntax in
Vortragskunst, Prosa und
Musik, in: Musik &
Asthetik, Heft 51 (Juli
2009), pp.
73-106.Nonnenmann, Karl
Rainer: Auftakt der
instrumentalen musique
concrete. Helmut
Lachenmanns temA, in:
MusikTexte 67/68 (1997),
pp. 106-114.Saxer,
Marion: Kunstgesang als
Klangsymbol. Belcanto in
experimenteller
Vokalmusik nach 1960, in:
Musik & Asthetik, Heft 92
(Oktober 2019), S. 5-25
Weber,Barbara Balba: ,,Es
musste einfach schick
sein, beim Musikhoren
etwas zuriskieren.
Weltbezuge bei
Lachenmann: Perspektive
der Musikvermittlung,
in:Zuruck zur Gegenwart?
Weltbezuge in neuer
Musik, hrsg. von Jorn
Peter
Hiekel(Veroffentlichungen
des Instituts fur Neue
Musik und Musikerziehung
Darmstadt55), Mainz:
Schott 2015, pp.
160-169.
World
premiere: Stuttgart,
February 19, 1969. $60.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Liaison Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (clar,vl,vc,pno) SKU: BR.KM-2516 Composed by Isabel Mundry...(+)
String Quartet
(clar,vl,vc,pno) SKU:
BR.KM-2516 Composed
by Isabel Mundry. Chamber
music; stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere of the 1st
version: Dresden,
Semperoper, June 6, 2008.
Music post-1945; New
music (post-2000). Score
and parts. Composed
2007/09. 60 pages.
Duration 15'. Breitkopf
and Haertel #KM 2516.
Published by Breitkopf
and Haertel (BR.KM-2516).
ISBN 9790004502938.
11.5 x 16
inches. Der
Komposition gehen keine
aussermusikalischen
Eindrucke voraus, sondern
sie konzentriert sich auf
innermusikalische
Uberlegungen, weshalb es
nicht leicht ist,
uberhaupt Worte fur sie
zu finden. In einem losen
Zyklus, den ich in den
nachsten Jahren
fortsetzen mochte, will
ich mich auf das Phanomen
der innermusikalischen
Bindungen konzentrieren
sowie auf ihr Gegenuber,
die Einschnitte,
Trennlinien oder
Kontraste. Jenseits der
Tonalitat stellt sich mit
jeder neuen Komposition
auch die Frage erneut,
was zwei Klange
zusammenhalten kann, was
Ferne und Nahe bedeuten,
was das Lose ist und was
das Gebundene. Stehen
solche Uberlegungen in
meinen anderen
Kompositionen im Dienste
anderer Visionen, so will
ich ihnen hier wie ein
Geologe auf den Grund
gehen.Immer wieder ziehen
sich Linien durch die
Musik, im konkreten Sinne
melodischer Phrasen, aber
auch im allgemeinen Sinne
der Weiterfuhrung von
Klangcharakteren. So
unterliegt die Musik
permanenten Wandlungen,
gehalten von imaginaren
Faden, die sich auch
verknoten, vernetzen oder
vervielfaltigen konnen.
Gleichzeitig gibt es auch
Einschnitte, scheinbar
losgeloste Geschehnisse,
die wie unbegrundet
hineinplatzen, und
dennoch vergleichbar mit
einem Stein in einem
Fluss ihren Einfluss auf
den Verlauf des Ganzen
nehmen.Liaison - der
Titel beschreibt zwei
Seiten dieses Projektes,
namlich einerseits die
Bindung als
innermusikalisch
fokussiertes Thema,
andererseits den Antrieb,
sich mit einem solch
basalen Phanomen der
Musik erneut zu
beschaftigen: die Liaison
als Liebesbeziehung, in
der die einfachsten Dinge
doch wieder zu einem
Ratsel werden
konnen.(Isabel
Mundry). $82.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099). ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German. On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Csardas obstinee Violoncelle, Piano EMB (Editio Musica Budapest)
Cello and Piano SKU: BT.EMBZ14779 Composed by Franz Liszt. Book Only. Com...(+)
Cello and Piano SKU:
BT.EMBZ14779 Composed
by Franz Liszt. Book
Only. Composed 2011. 16
pages. Editio Musica
Budapest #EMBZ14779.
Published by Editio
Musica Budapest
(BT.EMBZ14779).
The arranger of
this work (a well-known
Hungarian composer living
in Romania) writes: This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinate one, may refer
to its ostinato
character. This is close
to Liszt's programme
concept, but the French
word 'obstiné' is
closer in meaning to
stubborn. There is just a
shade of difference, but
to me it is important,
because the latter
suggests the description
of a type of behaviour,
the emotional state of a
dancer's inner frame of
mind abstracted into
movements, expressed in
dance movements, and this
is a fascinating
interpretation. The
demonstration ofstubborn
resistance and defiance
to the point of
exhaustion was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán
Kocsis played the piece
in Transylvania. At that
time, I asked the
composer, Is the
character of the
continuous staccato in
the left hand sharp,
short, or an accompanying
background like a
constant shadow? Is it a
weighty Brahmsian
staccato, an ominous
knocking? - and so on.
Then there are the
Bartókian false
relations that keep
recurring in the work,
the B-E flat-G, etc. That
foreshadows Debussy,
creating harmonic thrills
that, when I hear the
work, keep my continuing
interest alive for it.
Finally, my immediate
reason for arranging the
work was of a family
nature: in connection
with Liszt's jubilee
year, my daughter, who is
a cellist, wanted a 'more
energetic' piece to play
at a bicentenary concert
an addition to the
existing slow, lyrical,
or sombre works written
by Liszt for the cello.
The arranger of
this work, the well-known
Romania-based Hungarian
composer Cs ky
Boldizsár writes: This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinateone, may refer
to its ostinato
character, this is close
to Liszt's programme
concept, but the French
word 'obstiné' is
closer in meaning to
stubborn. There is just a
shade of difference, but
to me it is important,
because the
lattersuggests the
description of a type of
behaviour, the emotional
state of a dancer's inner
frame of mind abstracted
into movements, expressed
in dance movements, and
this is a fascinating
interpretation. The
demonstration of
stubbornresistance ,
defiance to the point of
exhaustion, was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán
Kocsis played the piece
here in Transylvania
(Romania).
Der
Bearbeiter des Werkes,
der renommierte
ungarische Komponist aus
Rumänien, schreibt:
Dieses Stück reizte
immer schon meine
Phantasie, sogar in
vielerlei Hinsicht. Als
erstes sein Name. Der
deutsche Titel
‚Hartnäckiger'
kann auf den ihm
innewohnenden ostinativen
Charakter hinweisen, was
der Liszt'schen
Programm-Konzeption
näher kommt, das
französische
,obstiné' steht jedoch
eher dem Wort
‚dickköpfig'
nah. Das sind nur
geringfügige
Unterschiede, mir ist das
dennoch wichtig, weil aus
Letzterem die Darstellung
eines Verhaltens, der in
Tanzgesten
ausgedrückte, zur
Bewegung abstrahierte
innere emotionale Zustand
eines Tänzers
durchscheint, und das ist
eine überaus
beeindruckendeErklärun
g. Die Demonstration des
bis zur Erschöpfung
reichenden Trotzes, der
störrischen Kraft
erscheint bei Liszt
selten. Der zweite
Aspekt: Zu Beginn der
70er Jahre spielte bei
uns Zoltán Kocsis das
Stück. Schon damals
(und seitdem) frage ich
den Komponisten:. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Was Bleibt? 100 Jahre Neue Musik Schott
SKU: HL.49018899 100 Jahre Neue Musik. Edited by Andreas Meyer. Th...(+)
SKU: HL.49018899
100 Jahre Neue
Musik. Edited by
Andreas Meyer. This
edition: Paperback/Soft
Cover. Book. Edition
Schott. Die 'Neue Musik'
Schonbergs, Strawinskys
und Debussys ist uber 100
Jahre alt, die
musikalische Avantgarde
der 50er und 60er Jahre
ebenfalls ein
historisches Phanomen.
Was bleibt - von der
historischen Erinnerung,
von Komponisten und
Werken, vom Mythos der.
German Edition.
Softcover. 222 pages.
Schott Music #ED 21053.
Published by Schott Music
(HL.49018899). ISBN
9783795707545. UPC:
841886016484.
German. Die Neue
Musik Schonbergs,
Strawinskys und Debussys
ist heute mindestens 100
Jahre alt. Und die
musikalische Avantgarde
der funfziger und
sechziger Jahre ist
ebenfalls langst ein
historisches Phanomen.
Unsere Gegenwart erlebt
eine so faszinierende wie
problematische
Vervielfaltigung
musikalischer Kulturen.
Was bleibt - von der
historischen Erinnerung,
von Komponisten und
Werken, vom
Jahrhundertanspruch und
Mythos der Neuen Musik?
Experten aus dem In- und
Ausland ziehen eine
provisorische Bilanz,
diskutieren aktuelle
Perspektiven und zeigen,
wie sich unser
Verstandnis des Phanomens
in den letzten Jahren
gewandelt hat. $42.00 - Voir plus => Acheter | | |
| Unsung Chordata Theodore Presser Co.
Chamber Music Bass Clarinet, Cello, Clarinet, Flute, Glockenspiel, Marimba, Perc...(+)
Chamber Music Bass
Clarinet, Cello,
Clarinet, Flute,
Glockenspiel, Marimba,
Percussion, Piano,
Piccolo, Splash Cymbal,
Temple Blocks, Triangle,
Vibraphone, Violin, Wood
Block SKU:
PR.114419080 Composed
by Melinda Wagner. Set of
Score and Parts. With
Standard notation.
48+8+8+12+8+12+16 pages.
Duration 14 minutes.
Theodore Presser Company
#114-41908. Published by
Theodore Presser Company
(PR.114419080). ISBN
9781491114216. UPC:
680160671595. 9 x 12
inches. Composing
for Boston Music Viva on
a Fromm Foundation grant,
Melinda Wagner
drewinspiration from an
astounding video of an
industrious little
pufferfish and his sand
artistry.Working 24 hours
a day, he carves out a
beautiful medallion of
swirls and ridges, in the
hopeof attracting a
sweetheart. Wagner has
written, “I was so
moved by the careful
preparation,determination
, patience, and artistry
of this little fish, who
has no guarantees of
finding true love.The
phenomenon reminded me
very much of the act of
composing – of
creating something outof
nothing, with few
guarantees.â€. Se
veral years ago, a friend
shared the most marvelous
video with me. In it, an
industrious little puffer
fish begins to prepare an
elaborate work of
artistry – his
“etchingsâ€
– in hopes of
attracting a sweetheart.
Using only his fins, he
prepares the
“canvas†(the
sandy ocean floor), and
for the next week,
working 24 hours a day,
he carves a beautiful
medallion of swirls and
ridges. Shell pieces and
pebbles are collected to
adorn the masterpiece.
And he waits.I was so
moved by the careful
preparation,
determination, patience,
and artistry of this
little fish who has no
guarantees of finding
true love. The phenomenon
reminded me very much of
the act of composing
– of creating
something out of nothing
with few guarantees.
Rather than attempting to
capture any action
programmatically, I tried
instead to express, in
the abstract, the sense
of anticipation, lovelorn
hopefulness – and
the optimism of a tiny,
unsung hero. [The puffer
fish is a member of the
Chordata phylum.]-Melinda
WagnerAugust 2018. $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mantel Intonation For Strings Schott
(TB) SKU: HL.49032755 Spielraume fur Streicher. Composed by Mantel...(+)
(TB) SKU:
HL.49032755
Spielraume fur
Streicher. Composed
by Mantel. This edition:
Paperback/Soft Cover.
Book. Edition Schott.
Gerhard Mantel vermittelt
in diesem Buch
Hintergrundwissen zum
Phanomen der Intonation
und nennt praktische
Ubemethoden, die uber
eine simple, spontane
Bestimmung von zu hoch -
zu tief weit hinausgehen.
Die teilweise
unkonventionellen
Losungsansatze ermog. 180
pages. Schott Music #ED
8729. Published by Schott
Music (HL.49032755).
ISBN 9783795787295.
5.75x8.25x0.384 inches.
German. 'How can I
play cleaner - even
cleaner?' This question
bothers every critical
string instrument player
during his/her daily
practice. According to a
survey, more than 70 per
cent of the actual
practising time and
attention of a string
instrument player is
spent on intonation.In
this book, Gerhard Mantel
provides basic
information on the
phenomenon of intonation,
presenting practical
methods which go far
beyond a simple,
spontaneous determination
of 'too high - too low'.
His approaches to a
solution, some of them
quite unconventional,
enable every sting
instrument player to find
his/her individual way to
the best possible
intonation and eliminate
seemingly insoluble
problems in the ensemble
playing with other string
instrument, wind
instrument or piano
players. The author
attaches particular
importance to dealing
with intonation playfully
and use it specifically
for the artistic
expression. $24.95 - Voir plus => Acheter | | |
| Flashback Sc/pts Orchestre d'harmonie - Avancé Hal Leonard
Concert Band/Harmonie (Score & Parts) - Grade 5 SKU: HL.44011764 Composed...(+)
Concert Band/Harmonie
(Score & Parts) - Grade 5
SKU: HL.44011764
Composed by Jan de Haan.
De Haske Concert Band.
Concert Piece. Score
Only. Composed 2010. Hal
Leonard #1094779.
Published by Hal Leonard
(HL.44011764). UPC:
884088896614. 9x12
inches.
English(US)/Deutsch/Franc
ais/Nederlands. A
flashback is an
interesting psychological
phenomenon: a seemingly
random trigger can bring
back long-forgotten
memories from the
subconscious mind. The
composer underwent a
similar experience before
writing this piece. He
was asked to write a
piece for The National
Youth Fanfare Band in the
Netherlands, one which he
heard perform many years
ago. All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback ist ein
psychologisches Phanomen:
Eine Erfahrung weckt
scheinbar aus dem Nichts
die Erinnerung an lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plotzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phenomene psychologique.
Des evenements du passe,
imprimes dans la memoire
a long terme,
resurgissent comme une
reponse inconsciente et
soudaine a un stimulus
lie a une experience
anterieure.Cette
œuvre a ete composee
a l'occasion du
cinquantieme anniversaire
de l'Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-meme membre,
au cours des annees 1960.
Jeune musicien, il
eprouvait un profond
respect pour le chef
d'alors, Piebe Bakker
(1929-2002), un homme
passionne, avec un style
de direction tres
stimulant. En revenant
sur cette periode,
quarante ans apres, Jan
de Haan a revecu
lesnombreuses
interpretations de la
piece Deep
Harmony. La melodie
scintillante - extraite
d'un cantique anglais -
lui est alors apparue
comme un flash-back et
c'est comme un eclair
mental qu'il a choisi de
lui redonner vie dans le
passage final de cette
œuvre. $221.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| As We Search - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Oboe, Percussion 1 and
more. - Grade 3.5 SKU:
CF.CPS254F Legend
of the “Brown
Mountain
Lightsâ€.
Composed by Joseph
Benjamin Earp. Full
score. 15 pages. Carl
Fischer Music #CPS254F.
Published by Carl Fischer
Music (CF.CPS254F).
ISBN 9781491159828.
UPC:
680160918416. PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown
Mountain Lights†is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights†focuses on
one legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm.
5–6, 9–10,
17–18,
21–22,
41–42,
45–46,
76–77 and
80–81.The climax
of the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
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