Choral (SSA Choir) SKU: HL.48020982 CME Intermediate. Composed by ...(+)
Choral (SSA Choir)
SKU: HL.48020982
CME Intermediate.
Composed by Daniel
Brewbaker. CME
Intermediate Series.
Concert, Contemporary,
Festival. Octavo. 16
pages. Boosey & Hawkes
#M051480791. Published by
Boosey & Hawkes
(HL.48020982).
UPC:
884088545598. 6.75x10.5
inches.
This
contemporary work from
Daniel Brewbaker is a
jubilant shout of joy at
the miracle of being
alive. Based on poems by
St. Thomas Aquinas and
Rabia, their ideas
resonate with each other
across the centuries, and
extend to our own. The
music alternates between
exhilarating elation and
quiet amazement,
concluding with an
exuberant affirmation of
the self as the central
expression of the divine
choir of life. From his
cantata Living the
Divine. Duration:
2:30.
(52 Songs from 17 Shows and Films). By Stephen Sondheim (1930-). Edited by Richa...(+)
(52 Songs from 17 Shows
and Films). By Stephen
Sondheim (1930-). Edited
by Richard Walters. For
Voice, Piano
Accompaniment. P/V/G
Composer Collection.
Softcover. 408 pages.
Published by Hal Leonard
Performed by Barbra Streisand. For voice, piano and guitar chords. Format: piano...(+)
Performed by Barbra
Streisand. For voice,
piano and guitar chords.
Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names, guitar chord
diagrams and introductory
text. Broadway,
contemporary vocal and
standards. 87 pages. 9x12
inches. Published by Hal
Leonard.
(Songs from 13 Shows and Films). Composed by Stephen Sondheim (1930-). For V...(+)
(Songs from 13 Shows and
Films). Composed by
Stephen
Sondheim (1930-). For
Vocal,
Piano/Vocal/Guitar. P/V/G
Composer Collection. 144
pages. Published by
Rilting
Music, Inc.
Composed by Peter Terry.
SWS FS. Carl Fischer
Concert Performance
Series. Set of Score and
Parts. With Standard
notation.
12+12+6+12+12+12+4+4+6+6+
6+6+8+8+8+4+4+6+6+6+4+8+4
+3+6+8+32 pages. Duration
4 minutes, 46 seconds.
Carl Fischer Music
#CPS201. Published by
Carl Fischer Music
(CF.CPS201).
UPC:
680160905072. 9 x 12
inches.
Shout for
Joy All the Earth! is a
bold fantasia for the
advancing concert band
based on the composer's
choral work of the same
name. This work
celebrates being alive
and captures moments of
intense joy and relaxed
contemplation. The
overall mood of this
piece emphasizes the
feeling that when we are
overcome by joy we feel
as if all of nature is
celebrating with us.
(Belter/Mezzo-Soprano (45 Songs)). By Stephen Sondheim (1930-). Edited by Richar...(+)
(Belter/Mezzo-Soprano (45
Songs)). By Stephen
Sondheim (1930-). Edited
by Richard Walters. For
Mezzo-Soprano, Piano
Accompaniment. Vocal
Collection. 334 pages.
Published by Hal Leonard
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
For voice, piano and guitar chords. Format: piano/vocal/chords songbook (spiral-...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook (spiral-bound).
With vocal melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Broadway,
vocal standards,
standards and traditional
pop. 479 pages. 9x12
inches. Published by Hal
Leonard.
Tenor Accompaniment CDs. By Various Composers. Edited by Edoardo Peti. (Tenor). ...(+)
Tenor Accompaniment CDs.
By Various Composers.
Edited by Edoardo Peti.
(Tenor). Vocal
Collection. CD only. Size
9x12 inches. 8 pages.
Published by Hal Leonard.
Chamber Music High voice, Piano SKU: PR.111402890 Composed by Ricky Ian G...(+)
Chamber Music High voice,
Piano
SKU:
PR.111402890
Composed
by Ricky Ian Gordon. Full
score. 44 pages. Duration
20 minutes. Theodore
Presser Company
#111-40289. Published by
Theodore Presser Company
(PR.111402890).
ISBN
9781491134672. UPC:
680160685264.
What
??s in a name? While the
title is French for
??Eight Flower Songs,?
the texts are all in
English. The poems??
flowers metaphorically
evoke fragrance, love and
loss, life and death,
rebirth and regrowth.
Perhaps the texture and
beauty of Gordon??s
music are themselves
French. The 20-minute
song cycle draws on poems
from Wordsworth to
Dorothy Parker, as well
as from contemporary
poets including the
composer himself. When
So-Chung Shinn came to me
with the idea of
commissioning a song
cycle with her
spectacular husband Tony
Lee, she had in mind
something having to do
with flowers. Tony had
asked her what she wanted
for her birthday, and she
said she wanted to be
behind the creating of a
new work. Lucky me, I was
the recipient of the
commission. So-Chung sent
me a little description
of all the flowers she
loves, but I had to take
the idea and create a
narrative in my head.It
is always a matter of
pleasing the
commissioner, yet coming
up with something you can
get behind and hear music
for as well. I already
knew I wanted to use my
??Tulips? poem which
is really about the arc
of a relationship as
represented through the
life span of the Tulips,
and, in many ways,
disappointment; and
Dorothy Parker??s ??One
Perfect Rose,? which is
wry, bitter, cynical, and
funny, in a way only
Dorothy Parker can so
pithily express.I thought
of Jane Kenyon??s
exquisite ??Peonies at
Dusk,? because knowing
she died so young (46) of
leukemia, the poem has
such a particular
resonance, almost
humanizing the Peonies,
casting the moon as a
sentient being,
illustrating so
beautifully how connected
everything is, alive
here, and revolving
around these exquisite
blossoms. Then, I
remembered her husband
Donald Hall??s poem
??Her Garden,? which
he wrote after Jane died,
his grief intermingled
with his inability to
care for what she had
created, to keep alive
what so represented her
aliveness, broken as he
was, and I felt I already
had a story.I found the
Wordsworth, because it
felt like pure joy to me,
but also, if each of the
songs has a color in my
head, ??The Daffodils?
is pure yellow and a good
place to start. My
partner Kevin and I live
on a lake, and every
year, the first
Daffodils, the shock of
yellows, the oranges, the
blinding whites, after
the long snowy winters,
sing of the newness that
is about to enfold us in
its green
miraculousness.At first,
the cycle ended with the
Langston Hughes poem
??Cycle,? or ??New
Flowers,? because it
was lovely, and about
rebirth, which is
obviously optimistic, and
apt, but then, my friend
Telmo Dos Santos, a
wonderful Canadian poet
whom I met at Banff, sent
me his poem ??Afterlife
With Lilacs,? having no
idea what I was working
on. I felt I had to add
it because it is so
dazzling, and it
immediately felt like the
missing link. Finally,
there were unfortunately
rights issues, namely, we
could not, no how, get in
touch with the Langston
Hughes Estate, after so
many happy
collaborations.After
almost a year??s
frustration, I wrote my
own text, ??Play,
Orpheus,? which ended
up being fortuitous,
because the first time I
met So-Chung, she entered
the room and the most
exquisite scent of
Lillies of the Valley,
Muguet de Bois, filled
the room. I went right
over to her and rudely
put my nose to her neck,
for the intoxication of
the scent. So ??Play,
Orpheus? is for
So-Chung, to remind us of
the precious treasures of
this world flowers remind
us of. Everything and
everyone lives and dies,
lives and dies. Death and
resurrection.And of
course, this is music,
this is song, so the
inclusion of the God of
music, Orpheus, seems
apt. Huit Chansons de
Fleurs is really about
what flowers represent,
their radiance, their
flickering impermanence,
the way they are used to
celebrate, as well as to
mourn...... and of
course, their fragrance.
Their fragrance.Ricky Ian
GordonJuly 28, 2021.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
Chamber Music Bass
Clarinet, Bassoon,
Clarinet, English Horn,
Oboe, alto Saxophone,
soprano Saxophone
SKU:
PR.114419980
Composed
by Stacy Garrop. Sws. Set
of Score and Parts.
32+16+16+16+16+16 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41998. Published by
Theodore Presser Company
(PR.114419980).
UPC:
680160681723. 9 x 12
inches.
The ancient
Egyptian empire began
around 3100 B.C. and
continued for over 3000
years until Alexander the
Great conquered the
country in 332 B.C. Over
the centuries, the
Egyptian empire grew and
flourished into a highly
developed society. They
invented hieroglyphics,
built towering pyramids
(including the Great
Pyramid of Giza, the
oldest of the Seven
Wonders of the World),
and the created many
household items we still
use today, including
toothbrushes, toothpaste,
eyeliner, black ink, and
the forerunner of
modern-day paper.
Included among their
achievements were a
series of highly
developed funerary
practices and beliefs in
the Afterlife. As the
average lifespan of an
Egyptian hovered around
30 years, living past the
death of oneAs physical
body was a legitimate
concern. Egyptians
believed that upon death,
their souls would
undertake a harrowing
journey through the
Netherworld. If they
survived the horrific
creatures and arduous
trials that awaited them,
then their souls would be
reunified with their
bodies (hence the need to
preserve the body through
mummification) and live
forever in a perfect
version of the life they
had lived in Egypt. To
achieve this, Egyptians
devised around 200
magical spells and
incantations to aid souls
on the path to the
Afterlife. These spells
are collectively called
The Book of the Dead.
Particular spells would
be chosen by the family
of the deceased and
inscribed on the tombAs
walls and scrolls of
papyrus, as well as on a
stone scarab placed over
the deceasedAs heart.
Subsequent collections of
spells and mortuary
texts, such as The Book
of Gates, assisted a soul
in navigating the twelve
stages of the
Netherworld. Not only did
these spells protect and
guide the soul on this
dangerous path, but they
also served as a
safeguard against any
unbecoming behavior an
Egyptian did while alive.
For instance, if a person
had robbed another while
alive, there was a spell
that would prevent the
soulAs heart from
revealing the truth when
in the Hall of Judgment.
Rites for the Afterlife
follows the path of a
soul to the Afterlife. In
Inscriptions from the
Book of the Dead
(movement 1), the soul
leaves the body and
begins the journey,
protected by spells and
incantations written on
the tombAs walls. In
Passage though the
Netherworld (movement 2),
the soul is now on a
funerary barque, being
towed through the
Netherworld by four of
the regionAs inhabitants.
We hear the soul slowly
chanting incantations as
the barque encounters
demons, serpents,
crocodiles, lakes of
fire, and other terrors.
The soul arrives at The
Hall of Judgment in
movement 3. Standing
before forty-two divine
judges, the soul
addresses each by name
and gives a A!negative
confessionA(r) connected
to each judge (i.e. A!I
did not rob,A(r) A!I did
not do violence,A(r) and
so on). Afterwards, the
soulAs heart is put on a
scale to be weighed
against a feather of
MaAat, the goddess of
truth. If the heart
weighs more than the
feather, it will be eaten
by Ammut, a hideous
creature that lies in
wait below the scale, and
the soul will die a
second and permanent
death (this was the worst
fear of the Egyptians).
But if the heart is in
balance with the feather,
the soul proceeds onward.
The final stage of the
journey is the arrival at
The Field of Reeds
(movement 4), which is a
perfect mirror image of
the soulAs life in
ancient Egypt. The soul
reunites with deceased
family members, makes
sacrifices to the
Egyptian gods and
goddess, harvests crops
from plentiful fields of
wheat under a brilliant
blue sky, and lives
forever next to the
abundant and nourishing
waters of the Nile. Rites
for the Afterlife was
commissioned by the
Barlow Endowment on
behalf of the Akropolis
Reed Quintet, Calefax
Reed Quintet, and the
Brigham Young University
Reed Quintet. -S.G.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Chamber Music Cello, Piano SKU: PR.114423720 Composed by Andrii Dido...(+)
Chamber Music Cello,
Piano
SKU:
PR.114423720
Composed
by Andrii Didorenko. Set
of Score and Parts.
Duration 10 minutes.
Theodore Presser Company
#114-42372. Published by
Theodore Presser Company
(PR.114423720).
ISBN
9781491129487. UPC:
680160690404.
POSTC
ARDS FROM UKRAINE is a
charming-yet-fiery suite
of six character pieces
reflecting the culture
and music of
Didorenko??s homeland.
The work was composed in
early 2022 following the
invasion. Movements 2 and
3 are inspired by folk
music with the piano
imitating sounds of the
bandura, and the other
four movements are free
settings of authentic
folk melodies. More
and more in recent times,
I turn to the musical
heritage of my native
Ukraine for inspiration.
Shortly after the start
of the war in Spring
2022, my friend and New
York pianist Evelyne
Luest approached me with
a suggestion to compose a
piece based on Ukrainian
folk music. As I began to
research authentic song
and dance styles, I was
immediately drawn to
their soulful melodies
and stirring rhythms.
Postcards from Ukraine
came into being in just
under a month.The second
of these six pieces is
written in the style of
duma, a sung epic poem
recited by itinerant
bards, accompanied on a
bandura; strumming on the
high piano strings
imitates the bandura??s
sound. In the third
piece, an ostinato bass
is another impression of
bandura playing, while
the cello references
Carpathian dance tunes.
The other four pieces are
my interpretations of
true Ukrainian folk
songs, typically sung a
cappella by a women??s
choir, from small
villages that keep their
vocal traditions
alive.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
SKU: WD.080689725128 Composed by Kathie Hill. Arranged by Melody Morris. ...(+)
SKU:
WD.080689725128
Composed by Kathie Hill.
Arranged by Melody
Morris. Choral. Modern
Christian: Christmas.
Accompaniment CD
(split/stereo). Word
Music #080689725128.
Published by Word Music
(WD.080689725128).
UPC:
080689725128.
When
the kids come dressed out
for The Christmas SOCCER
Team sign-ups, they
quickly realize they have
fouled out! This SOCCER
stands for the Society Of
Christmas Carolers
Emergency Rescue, a team
of senior singers who
strive to save Christmas
carols from extinction.
Being good sports, the
kids agree to share their
songs about Jesus' birth
and learn some of the
SOCCER team's carols.
This musical fusion finds
the kids falling into the
adult's southern gospel,
black gospel and swing
arrangements and the
SOCCER team adopting the
hip-hop, rap and
bluegrass styles of the
kids' music! The final
score is a tie when the
kids realize worshipping
Christ is the goal of all
Christmas music and
become starters on The
Christmas SOCCER Team to
keep the carols of our
faith alive and kickin'!
Ages: 2nd - 8th
Grades.