| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little New Broadway Fake Book Instruments en Do [Fake Book] Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover....(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway.
Softcover.
696 pages. Published by
Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The New Broadway Fake Book Instruments en Do Hal Leonard
645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway, Musicals. ...(+)
645 Songs from 285 Shows.
Composed by Various. Fake
Book. Broadway, Musicals.
Softcover. 696 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Not Alone Theodore Presser Co.
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone
Quartet SKU:
PR.114417130 &
Happy Birthday to
Prism. Composed by
Chen Yi. Sws each.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2014.
24+12+12+12+8 pages.
Duration 14 minutes.
Theodore Presser Company
#114-41713. Published by
Theodore Presser Company
(PR.114417130). ISBN
9781491110409. UPC:
680160626687. 9x12
inches. A recipient
of the New Music USA 2013
Live Music For Dance
Award commissioning
grant, Not Alone is
inspired by the ancient
Chinese poet Li Bai's
poem Drinking Alone under
the Moon with the Shadow.
The premiere was given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned the work to
celebrate its 25th
Anniversary NYC Season.
From the Program Note by
Matthew Levy (The PRISM
Quartet), Not Alone
(2014) is an
interdisciplinary
work...but it stands
alone in a chamber music
setting. The work spans a
stunning range of
textures, from
introspective solos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alone for a
2017 release on XAS
Records titled Paradigm
Lost. But we're excited
for a wider community of
saxophonists to embrace
the work, and share it
with their own audiences.
Not Alone is published
together with Happy
Birthday to PRISM, a
brief miniature that Chen
Yi wrote for the
quartet's 20th
anniversary celebration
in 2004. For advanced
performers.______________
___________Text from the
scanned back cover:NOT
ALONE for Saxophone
QuartetHAPPY BIRTHDAY TO
PRISM for Saxophone
QuartetNot Alone is a
14-minute saxophone
quartet and dance score
inspired by the ancient
Chinese poet Li
Bai’s
“Drinking Alone
under the Moon with the
Shadow.†The
expansively-textured sax
quartet matches the
exploratory and dramatic
movements and gestures in
the dance. NOT ALONE was
commissioned by the
Nai-Ni Chen Dance Company
which premiered the work
in collaboration with the
PRISM Quartet. Also
included in this
publication is Chen
Yi’s fascinating
take on “Happy
Birthday to You,â€
composed in celebration
of Prism’s 25th
anniversary season. A
recipient of the New
Music USA 2013 Live Music
For Dance Award
commissioning grant, Not
Alone is inspiredby the
ancient Chinese poet Li
Bai’s poem
“Drinking Alone
under the Moon with the
Shadow.†The
premierewas given on
April 26, 2014 by the
PRISM Quartet with the
Nai-Ni Chen Dance
Company, which
commissioned thework to
celebrate its 25th
Anniversary NYC
Season. Program Note
by composer Chen YiThe
original inspiration for
this work for both the
choreographer and the
composer came from the
Tang Dynasty poem - Alone
Under the Moon by Li Bai.
The poem describes the
poet being alone in a
garden. The moon and his
shadow became his
companions that night.
The choreographer brings
this idea to modern life
in an urban setting. She
created a series of
“mindscapesâ€
which are the result of
the exploration of the
different mental and
physical states of being
alone.Through
self-examination, the
choreographer raises the
question: are we ever
really alone? Our
physical being may be
standing by itself, but
what about our
introspective self? When
we are still, we let our
thoughts pass by like
flowing water. If we
could engage with our
shadows, what would it be
like?Program Note by
Matthew Levy, The PRISM
QuartetThe PRISM Quartet
has commissioned a great
many composers since our
founding days in 1984.
Chen Yi is among ahandful
of our very favorites,
and one to whom
we’ve returned
time and time again. Her
music is powerful,
expansive,intimate, and
draws connections between
Eastern and Western,
ancient and modern
traditions in a voice all
her own.Chen Yi has
written or adapted four
works for the PRISM
Quartet. She penned a
wonderful miniature
called HappyBirth day to
PRISM to celebrate the
ensemble’s 20th
anniversary back in 2004
(Dedication, Innova
Recordings).We
subsequently commissioned
her to compose Septet
(2008) for Erhu, Pipa,
Percussion, and Saxophone
Quartet(2008), premiered
and recorded with the New
York ensemble Music From
China (Antiphony, Innova
Recordings 2010).In 2015,
the PRISM Quartet
performed and recorded
(XAS Records) a new
version of her saxophone
quartet concerto,BA YIN,
with the University of
Missouri-Kansas City Wind
Ensemble under the baton
of Steven Davis
(originally writtenfor
the Rascher Quartet and
scored for saxophones and
string
orchestra.).Finally, Not
Alone (2014) is an
interdisciplinary work
written for the Nai-Ni
Chen Dance Company with
the PRISMQuartet, but it
stands alone in a chamber
music setting. The work
spans a stunning range of
textures, from
introspectivesolos for
each of the four
saxophones to majestic
hyper-active gestures.
The PRISM Quartet
recorded Not Alonefor a
2017 release on XAS
Records titled Paradigm
Lost. But we’re
excited for a wider
community of saxophonists
toembrace the work, and
share it with their own
audiences.In his liner
notes for the recording,
WNYC’s John
Schaefer writes:
“As with much of
her music, Chen employs
percussiveeffects and
glissandi; in Chinese
music these are not
considered
“extended
techniques†or
special effects, but
animportant part of the
performer’s
arsenal. Here, they help
create the twilit mood of
the opening moments. The
piecesoon becomes more
dramatic, suggesting the
arrival of the
drinker’s
companions (real or
imagined) and his or
herincreasingly garrulous
outbursts. Passages of
consonance and discord
can easily be heard as
companionable singingand
bouts of drunken
argument. The piece
bustles along on a kind
of restless energy,
until, finally, that
restlessnesssubsides,
giving way to a gently
humorous ending where a
short falling phrase
signals the drinker
falling
asleep.â€. $39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buoso's Ghost (Piano/Vocal Score) Piano, Voix Schirmer
Composed by Michael Ching. One Act/Chamber Opera. 20th Century. Score. Publi...(+)
Composed by Michael
Ching.
One Act/Chamber Opera.
20th
Century. Score. Published
by
E.C. Schirmer Publishing
$27.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| E-Z Play Today #199 - Jumbo Songbook
Piano, Voix et Guitare [Partition] - Débutant Hal Leonard
Keyboard/vocal/chords songbook for voice and keyboard. With lyrics, chord names,...(+)
Keyboard/vocal/chords
songbook for voice and
keyboard. With lyrics,
chord names, big note
notation and registration
guide. Series: Hal
Leonard E-Z Play Today.
488 pages. Published by
Hal Leonard.
(6)$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Broadway Presents! Teen Male Vocal Anthology Voix seule [Partition + CD] Alfred Publishing
(A Treasury of Songs from Stage and Film, Specially Designed for Teen Singers! I...(+)
(A Treasury of Songs from
Stage and Film, Specially
Designed for Teen
Singers! Includes Story
Synopsis, Song Set-up,
Audition Tips and 16-Bar
Cut Suggestions). Edited
by and compiled Lisa
DeSpain. For Voice. Book;
CD; Vocal Collection.
Broadway. 220 pages.
Published by Alfred Music
Publishing
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Smiling Dennis Subito Music
Bass Clarinet & 21 Strings SKU: SU.50600030 For Bass Clarinet & 21 Str...(+)
Bass Clarinet & 21
Strings SKU:
SU.50600030 For
Bass Clarinet & 21
Strings. Composed by
Fred Cohen. Strings,
String Ensemble. Study
Score. Subito Music
Corporation #50600030.
Published by Subito Music
Corporation
(SU.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor
First performed in 2006
Published by: Dunsinane
Music Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass
clarinet—and bass
clarinetists—to
the furious appetite of
the New Jersey groundhog.
Dennis inevitably finds
the humor in
things—he revels
in discovering the comic
story that can often be
found, just underneath
the topic. When Maestro
Hostetter asked me to
compose a new piece
during his initial season
with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me—I’m much
more a musical/visual
thinker than a verbal
one) as well as the
overall musical
narrative. Smiling Dennis
is a concerto in one
movement for one bass
clarinetist and twenty
string players. Somewhat
unusually, each performer
has a unique musical
assignment—that
is, the string players
are not aligned into
their typical alliances
of first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piú mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the
soloist’s gentle
cajoling and supportive
commentary, the strings
accompany—with
pleasure, you might
say—the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist’s
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Smiling Dennis Seesaw Music Corp
Bass Clarinet & 21 Strings SKU: SS.50600030 Composed by Fred Cohen. Study...(+)
Bass Clarinet & 21
Strings SKU:
SS.50600030 Composed
by Fred Cohen. Study
Score. Published by
Seesaw Music Corp
(SS.50600030).
Commissioned by
the Colonial Symphony,
Paul Hostetter, Music
Director and Conductor.
First performed in 2006.
Composer's Note: My
inspiration for Smiling
Dennis is the great bass
clarinet virtuoso Dennis
Smylie. I have had the
pleasure of getting to
know Dennis over the past
several years owing to
our mutual affiliation at
Montclair State
University. We would meet
unintentionally in the
halls and begin
conversations regarding
all manners of topics:
from the colorful history
of the bass clarinet -
and bass clarinetists -
to the furious appetite
of the New Jersey
groundhog. Dennis
inevitably finds the
humor in things - he
revels in discovering the
comic story that can
often be found, just
underneath the topic.
When Maestro Hostetter
asked me to compose a new
piece during his initial
season with the Colonial
Symphony, and mentioned
the possibility of a work
related to humor, I
immediately thought of
the Dennis. When I spoke
with Maestro Hostetter
the following day, I had
already conceived of the
title (very unusual for
me - I'm much more a
musical/visual thinker
than a verbal one) as
well as the overall
musical narrative.
Smiling Dennis is a
concerto in one movement
for one bass clarinetist
and twenty string
players. Somewhat
unusually, each performer
has a unique musical
assignment - that is, the
string players are not
aligned into their
typical alliances of
first violins, second
violins and so forth.
This permits a more
complex string texture,
allowing each performer
to assert his or her
individuality. Indeed,
the notion of
individuality is
essential to this
concerto, as it often is
in concerti. For example,
Smiling Dennis begins
with the bass clarinet
not quite obeying the
conventions of tuning to
the orchestra. Rather
than simply take the A
offered by the
Concertmaster, the
soloist playfully
performs a gently
descending series of
notes. Offered another A,
the soloist repeats this
gesture (though with a
different descending
series). This exchange
occurs four times. In the
final one, members of the
string orchestra join the
soloist in the first
significant statement of
one of the central
melodies. The bass
clarinet completes this
introductory section
alone, playing all the
way down to a low A, a
third below the lowest
note in the celli.
Following the
introduction, Smiling
Dennis consists of six
sections, somewhat along
the lines of a dance
suite: an energetic
Allegro, a lyric Arioso,
a forward Piu mosso, a
light-hearted and
syncopated dance, a even
more energetic passage
for strings alone, and
finally a modified return
to the introduction. In
the return, the string
ensemble is no longer at
all oppositional to the
soloist. Rather, in
response to the soloist's
gentle cajoling and
supportive commentary,
the strings accompany -
with pleasure, you might
say - the quiet,
individual playfulness of
the bass clarinet. The
work ends with a return
to the soloist's
substratum A, accompanied
quietly by the
strings. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Love and Longing Theodore Presser Co.
Chamber Music Mezzo-soprano, Piano, baritone voice soprano voice, tenor voice (+)
Chamber Music
Mezzo-soprano, Piano,
baritone voice soprano
voice, tenor voice
SKU: PR.411411980
Sung Monologues for
Solo Voices and Piano
Inspired by Classic
Literature. Composed
by Nkeiru Okoye. Theodore
Presser Company
#411-41198. Published by
Theodore Presser Company
(PR.411411980). UPC:
680160690671. I
love classic literature
and movies based on the
classics. Great plot
lines, complex
characters, and the power
of love across social and
economic boundaries
displayed in multilayered
stories. (And, of course,
the corsets and
crinoline.) Recent TV
series like
Netflix’s
Bridgerton have succeeded
in bringing these kinds
of stories back to
mainstream audiences,
illustrating that their
universal themes endure
even today.Each sung
monologue in LOVE AND
LONGING is drawn from a
climactic moment in a
work of classic
literature.
“Whatever our souls
are made ofâ€
contrasts Cathy’s
frozen commitments to
social expectation and
detached feelings toward
her fiancé Edgar
Linton with her
overwhelming love for
Heathcliff in Wuthering
Heights. In “Mr.
Rochester,†Jane
Eyre declares her
feelings for her employer
with uncommon familiarity
and boldness. Finally,
Mr. Darcy’s
proposal to Elizabeth in
Pride and Prejudice is
reimagined with a Gilbert
and Sullivan-like rhyme
scheme, as Darcy
humorously enumerates the
reasons it would be
foolish and improper for
him to marryElizabeth,
while asking for her
hand. The first two texts
are taken almost verbatim
from passages in the
novels, while the lyrics
for “Darcy
Proposes†are
original, freely adapted
from several
passages.LOVE AND LONGING
was conceived as a single
work in three parts, to
be performed in
succession by three
different singers.
However, performances of
the set by two singers
instead of three, or of
monologues as standalone
pieces, are also
permissible. The parts
were originally written
for soprano,
mezzo-soprano, and
baritone respectively,
with alternate versions
for mezzo-soprano,
soprano, and tenor added
later.These arias are
well within reach for
college students and
young professionals, and
draw on multiple musical
traditions.
Performer’s
interpretations of the
monologues will of course
be enriched by reading
the novels, and by
watching the movies they
inspired. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| As If Carl Fischer
Chamber Music Cello, Recording, Viola, Violin SKU: CF.BE10F For String...(+)
Chamber Music Cello,
Recording, Viola, Violin
SKU: CF.BE10F
For String Trio and
Recording. Composed
by Paul Lansky. Full
score. With Standard
notation. 32 pages.
Duration 19:37. Carl
Fischer Music #BE10F.
Published by Carl Fischer
Music (CF.BE10F). ISBN
9780825891175. UPC:
798408091170. 8.5 x 11
inches. Key: G
major. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violins D string
tuned 294 hertz. The
first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violinas D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and acello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for Speculum Musicae in
1981. The first movement,
In Preparation, is a
study in tuning and
intonation and is based
on the open strings in
perfectly tuned fifths,
with the violin's D
string tuned 294 hertz.
The first moments of the
piece provide opportunity
to tune to the tape part.
(This tuning probably
differs imperceptibly
from a tempered tuning
since the E string of the
violin is only 1/33 of a
semitone sharper then in
a tempered system and the
C strings of the viola
and 'cello 1/33 of a
semitone flatter.) Most
subsequent pitches in the
movement are either the
open strings or major and
minor thirds above and
below the open strings.
The minor thirds will be
slightly sharp with
respect to equal tempered
tuning about 15 cents or
1/6 of a semitone and the
major thirds will be
slightly flat about 14
cents, or one seventh of
a semitone. Listen to the
tape part as a guide. All
harmonics in this
movement are to be played
as natural harmonics and
open strings are to be
used whenever possible.
In the second movement,
At a Distance, the tape
part largely doubles
selected pitches in the
string parts and should
be thought of as a
backdrop rather then
counterpart. In this and
the remaining movements
equal tempered tuning is
used though it will
probably not be necessary
to retune the instruments
for this reason alone.
The third movement, In
Practice, is a study in
modes of performance
particularly with respect
to rhythmic rigidity and
flexibility. While the
tape part may seem to
bend and sway a great
deal, the string parts
are to be played with as
much rhythmic precision
as possible. At many
points it may be
necessary to delay or
anticipate beats in order
to coincide with the
arrival of beats in the
tape part, though in
general the quarter
equals 120 is accurate.
In the fourth movement,
In Distinction, different
kinds of musical
conceptions are
counter-pointed and
counter-posed. Here the
beat is quite accurate
although the notation of
the synthetic saxophone
part is only approximate.
All the tape parts are
based on computer
reprocessed violin except
for parts of the fourth
movement in which
synthetic saxophone is
used. The tape part was
synthesized on the IBM
3033 and 3081 computers
at Princeton University
and converted at the
Winham Laboratory. The
violin source was
performed by Cyrus
Stevens. Commissioned
by the Princeton-Columbia
Electronic Music Center
for SpeculumMusicae in
1981.The first movement,
In Preparation, is a
study in tuning and
intonation and isbased on
the open strings in
perfectly tuned fifths,
with the violin’s
D stringtuned 294 hertz.
The first moments of the
piece provide opportunity
to tuneto the tape part.
(This tuning probably
differs imperceptibly
from a temperedtuning
since the E string of the
violin is only 1/33 of a
semitone sharper then ina
tempered system and the C
strings of the viola and
‘cello 1/33 of a
semitoneflatter.) Most
subsequent pitches in the
movement are either the
open stringsor major and
minor thirds above and
below the open strings.
The minor thirdswill be
slightly sharp with
respect to equal tempered
tuning about 15 cents
or1/6 of a semitone and
the major thirds will be
slightly flat about 14
cents, or oneseventh of a
semitone. Listen to the
tape part as a guide. All
harmonics in thismovement
are to be played as
natural harmonics and
open strings are to be
usedwhenever possible.In
the second movement, At a
Distance, the tape part
largely doubles
selectedpitches in the
string parts and should
be thought of as a
backdrop rather
thencounterpart. In this
and the remaining
movements equal tempered
tuning is usedthough it
will probably not be
necessary to retune the
instruments for this
reasonalone.The third
movement, In Practice, is
a study in modes of
performance
particularlywith respect
to rhythmic rigidity and
flexibility. While the
tape part may seemto bend
and sway a great deal,
the string parts are to
be played with as
muchrhythmic precision as
possible. At many points
it may be necessary to
delay oranticipate beats
in order to coincide with
the arrival of beats in
the tape part,though in
general the quarter
equals 120 is accurate.In
the fourth movement, In
Distinction, different
kinds of musical
conceptions
arecounter-pointed and
counter-posed. Here the
beat is quite accurate
although thenotation of
the synthetic saxophone
part is only
approximate.All the tape
parts are based on
computer reprocessed
violin except for parts
ofthe fourth movement in
which synthetic saxophone
is used. The tape part
wassynthesized on the IBM
3033 and 3081 computers
at Princeton University
andconverted at the
Winham Laboratory. The
violin source was
performed by
CyrusStevens. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Singer's Library of Musical Theatre, Volume 2 Voix Tenor [Partition + CD] Alfred Publishing
(Tenor Voice). Edited by Lisa DeSpain. For Voice (Tenor voice). Vocal Collection...(+)
(Tenor Voice). Edited by
Lisa DeSpain. For Voice
(Tenor voice). Vocal
Collection. Singer's
Library of Musical
Theatre. Broadway. Book
and CD. 224 pages
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Voices I Hear GIA Publications
SKU: GI.G-10678 A Philosophical and Practical Approach to the Choral A...(+)
SKU: GI.G-10678
A Philosophical and
Practical Approach to the
Choral Art. Composed
by Will Kesling. Music
Education. 472 pages. GIA
Publications #10678.
Published by GIA
Publications
(GI.G-10678). ISBN
9781622776436. Draw
ing from his five decades
of success as a conductor
and educator in the
choral field, Will
Kesling has compiled a
comprehensive choral
methods resource that
addresses every necessary
fundamental for achieving
artistry in the choral
art. Written in clear and
conversational language,
this resource covers:
Building a healthy and
beautiful choral sound
Dealing with vocal issues
Selecting repertoire and
programming concerts
Developing score study
skills and interpretive
insights Understanding
the characteristics of
musical periods and
composers Planning,
preparing for, and
running rehearsals The
Voices I Hear also
explores important but
often overlooked topics,
including a discussion of
performing sacred music
in secular education
settings, techniques for
performing
choral-orchestral works,
choral versus orchestral
conducting, and how to
become a true
“maestro.â€
Individual chapters also
function as standalone
topics of study. A
valuable read for
emerging and seasoned
conductors alike, The
Voices I Hear is an
expert study of the
aesthetic, intellectual,
and practical aspects of
the choral art. Dr. Will
Kesling is Professor of
Choral and Orchestral
Conducting at the
University of Florida,
where he has taught for
two decades. He has
conducted hundreds of
choral ensembles and
nearly fifty of the
world’s finest
symphony orchestras. His
ensembles have received
international attention
for their excellence and
musical expression. Â
Thank you, Dr. Kesling,
for the decade you gave
of yourself to write the
most complete and
comprehensive writing on
the topics of choral
techniques, methods, and
conducting I have seen.
It is in-depth yet
practical, to the point
of being a valuable
resource for both the
young conductors entering
the choral field to the
well-established
professionals. You have
given us a solid
foundation in all
significant areas of the
choral art, including,
among many others, the
production of beautiful
vocal tone, detailed
physical vocal
production, textual and
physical components of
English diction,
repertoire programming,
appropriate style,
interpretation and
phrasing, and a pathway
to successful conducting
of combined choral and
orchestral forces. Your
enormous and highly
successful career, with
worldwide performances
and numerous awards and
honors, has enabled you
to bring validity and
integrity to the entire
writing. —Donald
Neuen  Â
Distinguished Professor
Emeritus, UCLA Â Â
Former member of the
Robert Shaw Chorale Â
 Mr. Shaw’s
Assistant Conductor with
the Atlanta Symphony
Orchestra and Choruses
For more than 50 years,
Dr. Will Kesling has been
and continues to be a
prominent figure and
voice in the
International and
American choral
profession. His new book,
The Voices I Hear, is the
distillation of his long
and distinguished career
as a conductor and choral
music educator. The
driving and consuming
passion throughout
Kesling’s life is
the preparation and
performance of the
world’s rich and
diverse choral and
orchestral repertoire and
the education,
development, and growth
of those who perform and
conduct it. This book is
a summation of a lifetime
immersed in the choral
art and all its many
aspects. It overflows
with insights into the
choral art that will not
only instruct the
beginning conductor but
also will enlighten and
entertain the seasoned
professional conductor
and educator. It is
filled with wit, wisdom,
and practical advice to
all practitioners of the
choral arts. I
enthusiastically
recommend
Kesling’s
enlightening new book as
an important addition to
the choral pedagogy
bibliography and for use
as an invaluable new text
for choral practicum
classes for both graduate
and undergraduate
students. Dr. Kesling has
brought to the choral
profession significant
new insights to all
lovers of the choral art.
—Craig Jessop Â
 Professor of Music,
University of Utah Â
 Former Music
Director of the
Tabernacle Choir and
Orchestra at Temple
Square   and the
United States Air Force
Singing Sergeants Will
Kesling’s book,
The Voices I Hear, is
practical and
philosophical, useful and
inspirational, focused
and comprehensive. The
observations and advice
are based on his vast
personal experiences on
the podium with choirs
and orchestras, and the
book is a monumental
resource for both the
young conductor and the
veteran. Containing a
broad spectrum of musical
styles, composers, and
topics, Kesling’s
direct and practical
writing connects
immediately with
today’s choral
musician. Keep The Voices
I Hear nearby as there
will be many times down
the road where the
information and opinions
in Dr. Kesling’s
book will answer the
questions you have, as
well as the ones you
didn’t even know
to ask! —Jerry
Blackstone  Â
Professor Emeritus of
Music (conducting) and
Director of Choirs
(retired) Â Â
School of Music, Theatre
& Dance, University of
Michigan This is the
textbook I wish had been
available when I was
beginning my studies. It
is comprehensive in
scope, practical and
helpful in its
suggestions, and, perhaps
most surprising in a book
from an academic,
superbly written in clear
and powerful English.
Kesling speaks with
conviction, clarity, and
polish, and he finds
colorful and memorable
ways of making his points
and presents the material
from the perspective of
one who has done all
these things for decades
at a highly professional
level. I give this volume
the highest possible
recommendation.
—Daniel Gawthrop
  Composer &
Conductor. $39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Broadway Presents! Kids' Musical Theatre Anthology
Voix d'Enfants [Partition + CD] Alfred Publishing
A Treasury of Songs from Stage and Film, Specially Designed for Young Singers!. ...(+)
A Treasury of Songs from
Stage and Film, Specially
Designed for Young
Singers!. Edited by Lisa
Despain. For Voice.
General Music and
Classroom Publications.
Book and CD. 128 pages.
Published by Alfred
Publishing.
(2)$25.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| To Hold the Light (GIA ChoralWorks|Spiritum) GIA Publications
SKU: GI.G-1095 Composed by James Jordan & The Same Stream. GIA ChoralWork...(+)
SKU: GI.G-1095
Composed by James Jordan
& The Same Stream. GIA
ChoralWorks. Music
Education. Choral score.
GIA Publications #1095.
Published by GIA
Publications (GI.G-1095).
The Universe
works in strange ways.
Recorded almost three
years ago, none of us
could have known that
when this recording was
released the world would
have lived through a
life-altering pandemic or
a tumultuous upheaval in
the cultural awareness
that now surrounds us.
The work that opens this
recording—with the
words of Quaker George
Fox that end with,
“So be faithful,
and live in that which
doth not think the time
longâ€â€”provid
es a haunting premonition
regarding the time in
which we live, Quaker
George Fox is strangely
prophetic about these
days and perhaps provides
a future caution for us
all. The music chosen for
this recording is
strangely and poignantly
relevant, I believe, for
each of us. “The
Fruit of Silenceâ€
by PÄ“teris Vasks
reminds us to visit those
beliefs that are most
sacred in the work by
Cortlandt Matthews. A
deeply personal Requiem
by Peter Relph, in
reflection, remembers the
hundreds of thousands of
lives lost in the
pandemic. And then there
is Thomas LaVoy’s
“O Great
Beyond.†All great
texts are timeless and
speak to the universality
of the human condition.
Particularly, the George
Fox text set by Jackson
Hill and the Tagore text
set by LaVoy give us
messages to reinforce the
humanness of each of us
for hope. Two other works
on this recording
poignantly remind us of
the passing of life, with
the Relph Requiem and
especially the final
movement of “O
Great Beyond.†May
these words give comfort
to all those who endured
the deepest of
Life’s losses
during our shared
pandemic journey. For so
many loved ones, goodbyes
were said in silence, and
alone. It is our hope
that all the music on
this CD will show us a
way for living as we move
forward and also give
loving comfort to those
who have lost loved ones.
Peace, my heart, let the
time for the parting be
sweet. Let it not be a
death but completeness.
Let love melt into memory
and pain into songs. Let
the flight through the
sky end in the folding of
the wings over the nest.
Let the last touch of
your hands be gentle like
the flower of the night.
Stand still, O Beautiful
End, for a moment, and
say your last words in
silence. I bow to you and
hold up my lamp to light
you on your way.
—Rabindranath
Tagore in The Gardener
(1913). $16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Broadway's Best Collection Piano seul [Partition] - Facile Alfred Publishing
50 Selections from the Best Musicals. For Piano. This edition: Easy Piano. Piano...(+)
50 Selections from the
Best Musicals. For Piano.
This edition: Easy Piano.
Piano - Easy Piano
Collection. Broadway's
Best. Broadway. Level:
Easy Piano. Book. 208
pages. Published by
Alfred Publishing.
$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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