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.
By Shawnee Press. Songbooks and Methods. Irish. Level: Intermediate. Book and Au...(+)
By Shawnee Press.
Songbooks and Methods.
Irish. Level:
Intermediate. Book and
Audio CD, Mixed Songbook.
Text language: English.
Published by Shawnee
Press.
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.
Medium Voice & Piano SKU: ST.Y291 Composed by Rhian Samuel. Vocal music. ...(+)
Medium Voice & Piano
SKU: ST.Y291
Composed by Rhian Samuel.
Vocal music. Four songs
for medium voice and
piano to poems by Anne
Stevenson and Emily
Dickinson.. Vocal score.
Stainer & Bell Ltd.
#Y291. Published by
Stainer & Bell Ltd.
(ST.Y291).
ISBN
9790220223372.
CONT
ENTS 1. Blackbird
(Anne Stevenson) (b -
g) 2. The moon is
distant (Emily Dickinson)
(b - g sharp) 3. Bird
in hand (Anne Stevenson)
(e flat - g flat) 4.
On not being able to look
at the moon (Anne
Stevenson) (b - g)
For medium voice and
piano or ensemble of
flute, harp and string
quartet, Moon and
Birds is a
substantial cycle of
songs to words by Anne
Stevenson and Emily
Dickinson. Its sequence
of four settings,
'Blackbird', 'The moon is
distant' (Dickinson),
'Bird in hand' and 'On
not being able to look at
the moon' unfolds a
symmetrical structure of
contrasting yet
interlocking moods in
which the reflective
second and fourth
numbers, lunar visions of
mystic tranquillity
flawed by doubt and pain,
temper with human frailty
the bright epiphanies of
the first and third
songs.
There is
a fascinating challenge
here for the performer to
embrace both elation and
gravitas in a single
reading, Samuel's
vigorous musical
invention binding the
developing web of feeling
with its own formal
strengths and subtly
illustrative moments. In
the version for string
quartet, flute and harp,
first performed by
Contemporary Connections
on 4 November 2011 at St
James's Church
Piccadilly, the flute
takes a prominent role
throughout. Violins,
viola and cello at times
elaborate on the simpler
textures of the keyboard
version, though the two
scores remain entirely
compatible. The bluesy
harmonies of the
concluding number,
whether weighted by
sonorous string quartet
or profiled in edgier
piano chords, bring the
cycle to a sombre
conclusion with a proper
sense of an emotional
world traversed.
Chamber Music Trumpet, Piano SKU: PR.114418940 For Trumpet in C and Pi...(+)
Chamber Music Trumpet,
Piano
SKU:
PR.114418940
For
Trumpet in C and
Piano. Composed by
Adolphus Hailstork. Sws.
Score and parts. With
Standard notation. 28
pages. Duration 10
minutes. Theodore Presser
Company #114-41894.
Published by Theodore
Presser Company
(PR.114418940).
UPC:
680160669653. 9 x 12
inches.
Hailstork
names his four diverse
pieces for trumpet Hymns,
because of the hymn-like
impression of the opening
statements. These short
pieces can be played
individually or as a set,
and can well serve within
the worship service as
processional or
recessional. Four Hymns
Without Words is
available in two versions
for piano or organ
accompaniment. Music
for trumpet and organ has
a long grand history,
especially as written by
English composers. These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally, a
buoyant exit song for the
recessional as the church
doors are flung open to
the sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suite I had some
themes that reminded me
of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
a buoyant exit song for
the recessional as the
church doors are flung
open to the
sun.. Music for
trumpet and organ has a
long grand history,
especially as written by
English composers.These
four pieces were written
to be used as separate
service pieces or as a
suite. I then decided to
orchestrate them as a
concert suitexa0I had
some themes that reminded
me of church hymns,
especially processionals,
from my early years
growing up as a singer in
an Episcopal cathedral. I
kept envisioning entrance
music when I worked on
Hymns 1 and 2, then quiet
hymn (with a minor key
ending!) as might occur
in a Black church for no.
3, and, finally,
axa0buoyantxa0exit song
for the recessional as
the church doors are
flung open to the
sun..
Classic Hymns We Love Piano seul [Partition] - Intermédiaire Lorenz Publishing Company
(Your favorite composers share a few of their favorites). By Pepper Choplin. For...(+)
(Your favorite composers
share a few of their
favorites). By Pepper
Choplin. For piano.
Sacred. Moderately
difficult. Collection.
Published by Lorenz
Publishing Company
Composed by
Ethan Sperry. Duration 5
minutes. Carl Fischer
Music #CM9792. Published
by Carl Fischer Music
(CF.CM9792).
ISBN
9781491164631. UPC:
680160923540. Key: A
major. English. Coty
Raven Morris.
Original.
The text
for Dust came to me
in a season of
reflection. As educators
and mentors to the
generations that come
after us, we have a
responsibility to provide
tools so that others can
shape their future.
Overtime, it can become
easy to lose one's
personal vision for one's
self when influenced by
so many outside factors.
When the pressure builds,
it can almost feel like a
self-reckoning; an
opportunity to build
ourselves again. Though
we are influenced by our
surroundings, we are all
unique in our purpose and
design!These questions of
self-reflection came
first:How much of me
flows from their
blood?How much of me is
built of their flesh?How
much of me is manifested
from their dreams?And
just like our own
identities, the rest of
the poem begin to take
shape. I hope that this
text speaks to you
wherever you are in your
discovery and journey to
your most authentic
self.DustI am
rubbleCarved into my
ruins, you will find my
ancestry interwoven with
my identityHow much of me
flows from their
blood?How much of me is
built of their flesh?How
much of me is manifested
from their dreams?The
only way to my truth is
through my foundationI
rage against those who
would dare covet this
sacred spaceI am the
temple and the
monumentThis is holy
ground.I must demolish
myself.Tear down the
walls that have held up
your visions and
destroyed mine.I must
restore myself in my own
image.And when the dust
settles, you can see my
bones.Pillars of
strength, marble, and
earthWalls painted with
my blood, cracked with
time, polished like my
skin(Golden)I will not be
complete, but I will be
homethe dust settlesAnd
we build
again—Coty Raven
Morris    Â
 .
Band concert band - Grade 3 SKU: CF.CPS250 Composed by Peter Sciaino. Set...(+)
Band concert band - Grade
3
SKU: CF.CPS250
Composed by Peter
Sciaino. Set of Score and
Parts.
27+12+12+6+12+12+12+6+6+6
+6+4+4+8+8+8+4+4+6+6+6+4+
12+4+2+6+10 pages.
Duration 4 minutes, 40
seconds. Carl Fischer
Music #CPS250. Published
by Carl Fischer Music
(CF.CPS250).
ISBN
9781491159576. UPC:
680160918164.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
Kaleidoscope Sky Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS250F Composed by Peter Sciaino. Fu...(+)
Band concert band - Grade
3
SKU: CF.CPS250F
Composed by Peter
Sciaino. Full score. 27
pages. Carl Fischer Music
#CPS250F. Published by
Carl Fischer Music
(CF.CPS250F).
ISBN
9781491159583. UPC:
680160918171.
Kalei
doscope Sky is inspired
by the breathtaking
pastime of hot-air
ballooning and the
glorious festivals around
the world that honor the
practice. A sky full of
colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight--heights are not
my thing--I have to
marvel at how gently and
easily these vessels
float among the clouds.
It truly is an image of
exquisite freedom. This
piece reflects the view
and experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line. Melodic
lines should soar with
attention being paid to
phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not cloud the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse. Kaleidoscope
Sky is inspired by the
breathtaking pastime of
hot-air ballooning and
the glorious festivals
around the world that
honor the practice. A sky
full of colorful spheres
elegantly floating at the
Albuquerque International
Balloon Fiesta,
International Balloon
Festival of
Saint-Jean-sur-Richelieu,
Bristol International
Balloon Fiesta, Mondial
Air Ballons and more draw
thousands of people to
witness awe-inspiring
scenes full of passionate
balloonists. Traditional
hot-air balloons mix with
creatively designed
balloons to thrill the
tens of thousands of
spectators below. While I
personally am not a
person who dreams of
taking my own
flight—heights are
not my thing—I
have to marvel at how
gently and easily these
vessels float among the
clouds. It truly is an
image of exquisite
freedom. This piece
reflects the view and
experience of the
onlooker taking in an
elegantly shifting scene
reminiscent of
kaleidoscope patterns.
Spectators like me can
appreciate the beauty and
vibrancy associated with
a horizon full of
adventurous balloonists
and their wondrous
aircrafts. Kaleidoscope
Sky starts in a
triumphant and
celebratory fashion and
continues to conjure
images reminiscent of the
wide variety of soaring
colors on display at a
hot-air balloon event.
Ultimately, the piece
appropriately concludes
with a suspenseful, yet
graceful, run to the
finish line.Melodic lines
should “soarâ€
with attention being paid
to phrase markings and
assigned articulations.
Encourage musicians to
allow room for the
melodic material to be
heard in thicker textures
where supporting
harmonies are often
rhythmic in nature. These
harmonies should support,
and not
“cloud†the
melodies. The meter
changes should sound
effortless, and the
continuous figures in the
percussion will help to
achieve this effect. The
snare drum, in
particular, should bring
accented notes to the
foreground while
maintaining a steady
textural effect with
non-accented notes as a
rhythmic background. This
will go a long way in
finding a cohesive
subdivision and ensemble
pulse.
By Eugenie R. Rocherolle. Piano Collection. WB Christian Piano Library. Level: I...(+)
By Eugenie R. Rocherolle.
Piano Collection. WB
Christian Piano Library.
Level: Intermediate
(Level Four). Book. 36
pages. Published by
Alfred Publishing.
Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir)
SKU:
HL.277282
SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282).
UPC:
840126915006. 6.75x10.5
inches.
Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo.
Text Book SKU: HL.360490 Edited by Brandon Williams. Book. Choral Resourc...(+)
Text Book
SKU:
HL.360490
Edited by
Brandon Williams. Book.
Choral Resources, Teacher
Resource. Softcover. 208
pages. Published by Hal
Leonard (HL.360490).
ISBN 9781705124673.
UPC: 840126949018.
6.0x9.0x0.47
inches.
Tesfa
Wondemagegnehu writes,
“The compendium you
hold in your hands
represents the glimmering
of the North Star. All
thought-leaders and
outstanding practitioners
of our time, these
authors have provided
myriad ways to navigate
through the messy,
deafening, and sometimes
terrifying chaos around
us.†Choral
Reflections offers
inspiration, ideas, and
insights for
conductor-teachers at any
stage. The goal for
Choral Reflections is to
provide a platform for a
new and more
representative
cross-section of American
choral conductor-teachers
to share their
reflections, beliefs,
values, and visions for
the choral art. The
thirty contributors are:
Hilary Apfelstadt, Anton
Armstrong, Geoffrey
Boers, Edith A. Copley,
Rollo A. Dilworth, Jason
Max Ferdinand, Lynne
Gackle, Janet Galvan,
Lynnel Joy Jenkins, Craig
Hella Johnson, Ann Howard
Jones, Henry H. Leck,
Iris S. Levine, Fernando
Malvar-Ruiz, Kevin
McBeth, Marcela Molina,
Gary Packwood, Rosephanye
Powell, Amanda Quist,
Doreen Rao, Jeffery B.
Redding, Eugene Rogers,
Diana V. Saez, Pearl
Shangkuan, Tom Shelton,
Sandra Snow, Andre J.
Thomas, Betsy Cook Weber,
Brad Wells, and Jace
Kaholokula Saplan.
Opera Voice String Instruments SKU: HL.14026363 Dramatic Music Part 2 ...(+)
Opera Voice String
Instruments
SKU:
HL.14026363
Dramatic Music Part 2
(Paperback Edition).
Composed by Henry
Purcell. Music Sales
America. Opera or
Operetta. Book
[Softcover]. Music Sales
#NOV151020. Published by
Music Sales
(HL.14026363).
ISBN
9780853608271. UPC:
884088434458. 7.75x11
inches.
Hardback
edition available:
NOV151020-01. Edited
under the supervision of
the Purcell Society by
Ian Spink.
Chamber Music violin, piano SKU: PR.144407050 Composed by James Primosch....(+)
Chamber Music violin,
piano
SKU:
PR.144407050
Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 28+12
pages. Duration 20
minutes. Theodore Presser
Company #144-40705.
Published by Theodore
Presser Company
(PR.144407050).
UPC:
680160655519. 9 x 12
inches.
Celebrating
30 years, the
Philadelphia Chamber
Music Society
commissioned a work of
20-25 minutes for violin
and piano from James
Primosch, University of
Pennsylvania professor of
music. Primosch had
originally thought to
create a new sonata, but
what developed is more
appropriately a set of
five character pieces,
two of which were
directly inspired by
poems. Five Poems was
premiered in May, 2016,
and Primosch's thoughts
are recorded at his
website:
https://jamesprimosch.com
/2016/05/10/five-poems-pr
emiere/. Upon
receiving a commission
from the Philadelphia
Chamber MusicSociety for
a violin and piano piece
in honor of its 30th
anniversary, myplan was
to write a sonata, a term
suggesting a relatively
abstractdiscourse. But as
the piece developed, the
movements struck me
ascharacter pieces rather
than music employing a
more
“symphonicâ€ap
proach. When specific
poems started to attach
themselves in my mindwith
two of the movements, the
overall title Five Poems
became clear.The title of
the second movement is a
line from Susan
Stewart’s“De
scentâ€, which deals
with Aeneas’s
visit to the underworld.
The musicis alternately
fiercely driving and
quite still, though
tense.
RobertFrost’s
Nothing Gold Can Stay
summons fleet scale
passages framinglyrical
counterpoint. The
remaining movements do
not refer to
specificpoems, but have
titles reflecting their
expressive tone.
Dreamscape ismusing with
an improvisatory violin
line over shifting pairs
of pianochords. Nightsong
is a bluesy lullaby that
turns highly
dramatic.Vision begins
with a closely argued
struggle but breaks
through tosomething
spacious and clear.
Orchestra Orchestra SKU: PR.416413710 For Chamber Orchestra. Compo...(+)
Orchestra Orchestra
SKU: PR.416413710
For Chamber
Orchestra. Composed
by Clint Needham.
Watkiss. Contemporary.
Full score. With Standard
notation. Composed 2008.
92 pages. Duration 21
minutes. Theodore Presser
Company #416-41371.
Published by Theodore
Presser Company
(PR.416413710).
ISBN
9781598068214. UPC:
680160587162. 9x12
inches.
Needham's
original intent with
Chamber Symphony was to
encapsulate the 2008
presidential election,
from the Democratic
primaries to the historic
general election campaign
and win of Barack Obama.
But, says Needham, In the
midst of the general
election circus, I
decided to broaden my
inspiration and have the
work's overall goal focus
on the larger ideas of
hope and transformation.
Chamber Symphony was
commissioned by the
American Composers
Orchestra with generous
support of Paul
Underwood. Additional
support was from the
National Endowment for
the Arts. I originally
envisioned a work
inspired by the political
landscape of the 2008
presidential election,
focusing primarily on the
hard-fought Democratic
Primary race. I was
fascinated by the
historic and hopeful
spirit that both the
Barack Obama and Hillary
Clinton campaigns
embodied. Sometime later,
in the midst of the
general election circus,
I decided to broaden my
inspiration and have the
work’s overall
goal focus on the larger
ideas of hope and
transformation. Chamber
Symphony is constructed
in three movements
(played without pause):
I. Hammering Out, II.
Open-ended Echoes, and
III. Radiant Nation. The
titles suggest a general
atmosphere that each
movement attempts to
express. The outer
movements, both quick in
tempo, act as the
antithesis of each other
in terms of mood.
“Hammering
Out†employs an
aggressive, relentless,
pounding beat that
frequently shifts, often
emphasized with metallic
sounds. “Radiant
Nation†is much
lighter and more
optimistic in tone, and
uses an up-beat groove
throughout the movement.
The middle movement,
“Open-ended
Echoes,†is the
proverbial calm after the
storm. Unlike the outer
movements,
“Open-ended
Echoes†is almost
void of any strong sense
of pulse. The movement
attempts to create a
peaceful, contemplative
mood that transforms the
volatile nature of the
first movement tothe
radiant spirit of the
last. Chamber Symphony
was commissioned by the
American Composers
Orchestra for its
Orchestra Underground
Series with the generous
support of Paul
Underwood. Additional
support for the
ACO’s Emerging
Composers Program comes
from the National
Endowment for the
Arts.— November 5,
2008.
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost.
Composed by Edvard Grieg (1843-1907), edited by Dan Fog, Nils Grinde. Collection...(+)
Composed by Edvard Grieg
(1843-1907), edited by
Dan Fog, Nils Grinde.
Collection for voice solo
and piano accompaniment.
Urtext Edition. Text
language English, German
and Norwiegan. 304 pages.
Published by C.F. Peters.