Carrie Tennant Choral Series. Composed by Sara Bareilles. Arranged by Allison ...(+)
Carrie Tennant Choral
Series.
Composed by Sara
Bareilles.
Arranged by Allison
Girvan.
Carrie Tennant Choral
Series.
Concert, Festival.
Octavo. 12
pages. Duration 120
seconds.
Published by Hal Leonard
Oboe SKU: HL.14047797 Oboe Part. Composed by John Tavener. Music S...(+)
Oboe
SKU:
HL.14047797
Oboe
Part. Composed by
John Tavener. Music Sales
America. Classical.
Softcover. 15 pages.
Chester Music #CH7108201.
Published by Chester
Music (HL.14047797).
UPC: 888680642815.
9.5x14 inches.
John
Tavener 's Kaleidoscopes
is a tribute to Mozart
for Solo Oboe, Percussion
and four String Quartets,
lasting approximately 30
minutes. The work was
commissioned by the
Britten Sinfonia, and
first performed by them
with soloist Nicholas
Daniel on 6th November
2006 at the Queen
Elizabeth Hall, London.
This is the Solo Oboe
part. In the composer's
note, Tavener
explains his high
regard for Mozart, and
how in Kaleidoscopes
he attempts to take
Mozart's music and
meditate upon it in four
main cycles. He states
that all the music has
its source in Mozart,
whether it be rhythmic,
harmonic or
contrapuntal. .
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
SKU: WD.080689587177 Composed by Daniel Semsen. Choral, cantatas. Kaleido...(+)
SKU:
WD.080689587177
Composed by Daniel
Semsen. Choral, cantatas.
Kaleidoscope Youth Choir
Series. Christmas. Book.
Word Music #080689587177.
Published by Word Music
(WD.080689587177).
UPC:
080689587177.
Follo
wing on the heels of
Kaleidoscope (the new
Modern Youth Choir
collection from Word
Music & Church Resources)
comes COOL YULE,
an awesome new 6-song
Christmas collection by
West Coastbased arranger
and uber programmer,
Daniel Semsen. Arranged
for student choirs and
vocal ensembles (better
known as Modern Youth
Choirs), COOL YULE
is edgy and intense,
next-generation,
forward-leaning,
bleeding-edge music for
your Youth Choir's
Christmas
presentation.
COOL YULE is
jam-packed full of
contemporary seasonal
songs, designed for
life-changing student
ministry opportunities.
Featuring songs
originally made popular
by artists such as
Hillsong Young &
Free, TobyMac, Hillsong
Worship and more,
COOL YULE delivers
a wide variety of musical
styles and formats
designed to help your
Modern Youth Choir
present their coolest
Christmas concert ever,
with the true message of
Christmas front and
center!
SAB choir SKU: WD.080689653179 Composed by Daniel Semsen. Choral collecti...(+)
SAB choir
SKU:
WD.080689653179
Composed by Daniel
Semsen. Choral
collection. Sacred
Choral, Christmas. Book.
Word Music #080689653179.
Published by Word Music
(WD.080689653179).
UPC:
080689653179.
Disco
ver completely epic and
totally awesome new
Christmas songs for your
Youth Choir in this
latest edition of the
Kaleidoscope Youth Choir
Series… COOL YULE
2, from triple-threat
programmer, arranger, and
producer, Daniel Semsen.
COOL YULE 2
features six divergent,
edgy, and fun Christmas
songs intensified to
deliver the most
forward-leaning,
bleeding-edge Youth Choir
arrangements…
especially designed for
hip student choirs just
like yours! The
Kaleidoscope Youth Choir
Series was created to
provide life-changing
ministry opportunities
for the next generation
through impactful,
meaningful music. As a
part of this series,
COOL YULE 2 does
just that… featuring
the best and most current
Christmas songs from
chart-topping artists
including Lauren Daigle,
Unspoken, Francesca
Battistelli, Danny Gokey,
Love & the Outcome, and
OBB. Your Youth Choir is
guaranteed to love this
new collection,
COOL YULE
2!
Gulliver's
Travels. Composed by
Maxime Aulio. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 2003. De Haske
Publications #DHP
1033505-010. Published by
De Haske Publications
(BT.DHP-1033505-010).
9x12
inches.
Maxime
Aulio composed Les
Voyages de Gulliver
(Gulliver’s Travels)
for the concert band of
the Conservatoire
National de Région in
Toulouse (France)
conducted by Jean-Guy
Olive. The first
performance took place in
Toulouse (Auditorium
Saint-Pierre des
Cuisines) on April 25,
2001. The Anglo-Irish
author Jonathan Swift
(1667-1745) took about
six years to complete his
epic tale of adventure.
The creative storyline,
clear writing and
subtlety of Gulliver’s
Travels have been
engaging readers for
generations. This
literary travel between
reason and foolishness
was Maxime Aulio’s
inspiration for this
piece. Each of the four
movements of this suite
is a review of
Gulliver’sadventures,
resembling the effect of
a kaleidoscope, which
juxtaposes small
fragments of colour in a
linear pattern.
Jonathan Swifts
satirischer Roman
Gullivers Reisen -
eine literarische Reise
zwischen Vernunft und
Verrücktheit - regte
auch die Phantasie des
Komponisten Maxime Aulio
an. Seine Suite für
Blasorchester besteht aus
mehreren kurzen,
teilweise wie eine Kette
aneinander gereihten
Sätzen. Zyklisch in
veränderter Form
wiederkehrende Motive und
Themen beschreiben
Gullivers Gedanken und
Gefühle oder auch
Landschaften und
Personen, die ihm
unterwegs
begegnen.
1.
Voyage Lilliput • 2.
Voyage Brobdingnag • 3.
Voyage Laputa/Voyage
Balnibarbi; l’Académie
de Lagado/Voyage
Glubbdubdrib, l’île
des Magiciens /Voyage
Luggnagg; Les
Struldbruggs • 4.
Voyage chez les
Houyhnhnms / Maxime
Aulio a composé
Gulliver's Travels
(Les Voyages de
Gulliver) pour
l’Orchestre
d’Harmonie du
Conservatoire National de
Région de Toulouse
placé sous la direction
de Jean-Guy Olive.
L’œuvre a été
donnée en création
mondiale le 25 avril
2001, l’Auditorium
Saint-Pierre des Cuisines
de Toulouse, par la
formation
dédicataire.Vers 1720,
lorsque Jonathan Swift
(1667-1745), écrivain
irlandais d’origine
anglaise, envoie Lemuel
Gulliver,un vieux
chirurgien malicieux, la
découverte de contrées
extraordinaires, il
débute en réalité
l’écriture d’un
roman satirique sur la
vanité, la morale et
l’hypocrisie de la
société humaine.
L’utopie littéraire
était alors l'unique
moyen d’éviter la
censure. Mais en
écrivant ce livre, dont
la rédaction dura six
ans, Swift eut le temps
de m rir ses idées, si
bien que sa réflexion
grinçante sur la
condition humaine est
toujours d’actualité.
Le génie imaginatif, la
finesse d’esprit et la
prose simple qui
caractérisent Les
Voyages de Gulliver
ont fasciné des
générations de
lecteurs. Ce voyage
littéraire entre raison
et folie s’est
également arrimé dans
l’imaginaire de Maxime
Aulio qui nous offre avec
sa suite en quatre
mouvements, une vision
musicale des
pérégrinations de
Gulliver, la manière
d’un kaléidoscope qui
juxtapose de petits
fragments de couleur dans
une trame linéaire.
For Violin. Classical (chamber). Includes a complete printed music score on high...(+)
For Violin. Classical
(chamber). Includes a
complete printed music
score on high-quality
ivory paper; and two
compact disc containing a
complete performance with
soloist, then performed
again minus the soloist.
Published by Music Minus
One
For
string quartet.
Composed by Martin
Schlumpf. Edited by
Martin Schlumpf. Bach
format (230 x 302).
Staple Bound. Full score,
parts. 74 pages. Duration
15 minutes. Edition
Kunzelmann #GM-1934.
Published by Edition
Kunzelmann (KU.GM-1934).
Organ solo SKU: CA.1808200 Composed by Various. Edited by Armin Kircher. ...(+)
Organ solo
SKU:
CA.1808200
Composed
by Various. Edited by
Armin Kircher. This
edition: Paperbound.
Pastorale. Pastoralmusik
Fur Orgel Band 2. Free
organ music, Christmas.
Collection. 144 pages.
Carus Verlag #CV
18.082/00. Published by
Carus Verlag
(CA.1808200).
ISBN
9790007164003.
This
volume presents 64
Pastorale compositions
for organ
(harpsichord/pianoforte)
of the 18th century from
Germany, Bohemia, Austria
and South Tyrol. Charming
melodies shaped by
natural notes, bordoun
basses, a
lyrical-cheerful or
sensitive tone - these
are some of the common
characteristics of the
works in this collection.
Several of them are
connected to the custom
of the Kindlwiegen or
cradle song. Those in
search of new discoveries
will also find a number
of first editions here.
Almost all of the pieces
can be played manualiter
and range from easy to
moderate level of
difficulty. Together,
both Pastorale volumes
display an impressive
kaleidoscope of the
different national
characteristics of the
pastorale and offer a
rich repertoire for
organists, not only at
Christmas time.
Composed by Sam Farrar and Sara Bareilles. Arranged by Bryan Sharpe. Choir Secul...(+)
Composed by Sam Farrar
and Sara Bareilles.
Arranged by Bryan Sharpe.
Choir Secular. SATB
choir. Choral Octavo. Pop
Choral. Secular. 24
pages. Published by
Alfred Music
Orchestra - Grade 4 SKU: AP.48091 Composed by Richard Meyer. MakeMusic Cl...(+)
Orchestra - Grade 4
SKU: AP.48091
Composed by Richard
Meyer. MakeMusic Cloud;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score and
Part(s). 124 pages.
Duration 6:00.
Highland/Etling
#00-48091. Published by
Highland/Etling
(AP.48091).
ISBN
9781470654382. UPC:
038081554679.
English.
Century
One Tusonic by Richard
Meyer will take your
students on an amazing
journey. This celebratory
and futuristic-sounding
overture is the perfect
opener or closer for any
concert. Tuneful,
energetic, and highly
emotional, the piece
presents a sonic
kaleidoscope of playing
styles that will
challenge every section
of the advanced string
orchestra. The unexpected
harmonies and exotic
rhythms give this
selection a cinematic
sound that is sure to
intrigue your students
and your audience. Brief
solos for violin and
cello are included.
(6:00).
Kaleidoscope Piano seul [Partition] - Intermédiaire EMB (Editio Musica Budapest)
(Romantic Piano Pieces Musical Expeditions Series). By Various. Edited by Ágnes...(+)
(Romantic Piano Pieces
Musical Expeditions
Series). By Various.
Edited by Ágnes Lakos.
EMB. Softcover. 52 pages.
Editio Musica Budapest
#Z14702. Published by
Editio Musica Budapest
Composed
by Peteris Vasks. This
edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
Parts. Composed 2004. 56
pages. Duration 25'.
Schott Music #ED9809.
Published by Schott Music
(HL.49033305).
ISBN
9790001137911. UPC:
884088408053.
9.0x12.0x0.202
inches.
String
Quartet No. 5 consists of
two contrasting
movements. The first
movement, being present,
immediately leads to an
atmosphere of high
emotional tension. The
prevailing atmospheric
elements of the music are
dramatic and passionate,
alternating with each
other like a
kaleidoscope. In contrast
to that, a second theme
is intoned three times -
an invitation, a memory
of the existence of
another world, a
light-house which
illuminates the twilight
in which we live so
often. But this
invitation remains
unheard. The first
movement concludes with
dissonances in the upper
register - a cry of utter
desperation.The second
movement, so distant ...
yet so near, is the calm,
unhurried vocal section
of the quartet. A
forgiving, loving look at
a world tortured by grief
and contradictions.
Gradually, the singing
becomes more personal,
more emotional and more
dramatic. The rhythmic
figure of a funeral march
in the recapitulation of
the second movement is a
gesture of loss.
Eventually, the quartet
loses itself in an
atmosphere of
light-filled grief.
Peteris Vask.
Piano (Piano Solo) SKU: HL.49046717 For Piano Solo. Composed by Em...(+)
Piano (Piano Solo)
SKU: HL.49046717
For Piano Solo.
Composed by Emile
Naoumoff. Piano Solo.
Classical. Softcover.
Duration 6900 seconds.
Schott Music #ED23432.
Published by Schott Music
(HL.49046717).
UPC:
842819114024.
9.0x12.0x0.405
inches.
The 24 Soul
Etudes constitute a
kaleidoscope of soulful
landscapes nested in
human souls depth. These
pieces are destined for
pianists yearning to
express their utter
sensitivity and poetry in
perfect osmosis with
their audiences. These
compositions can be
savored as chosen flower
bouquets in completion of
a given piano recitals
varied repertoire program
by coloring through such
sound paintings
approaches revealing
infinitely cap-tivating
atmospheric and evocative
universes. Alternatively,
they could be presented
in their entirety for a
total immersion
experience combining
compelling meditative and
reflective daydreamed
worlds which lay in each
of us. Their performance
valorizes the pianist
interpreter in a fusional
communion with the
listener merging both in
a transcendental longing
into a truly blossomed
unison of human feelings.
(Emile Naoumoff).
Orchestra - Grade 4 SKU: AP.48091S Composed by Richard Meyer. Performance...(+)
Orchestra - Grade 4
SKU: AP.48091S
Composed by Richard
Meyer. Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Score. 32
pages. Duration 6:00.
Highland/Etling
#00-48091S. Published by
Highland/Etling
(AP.48091S).
ISBN
9781470654399. UPC:
038081554686.
English.
Century
One Tusonic by Richard
Meyer will take your
students on an amazing
journey. This celebratory
and futuristic-sounding
overture is the perfect
opener or closer for any
concert. Tuneful,
energetic, and highly
emotional, the piece
presents a sonic
kaleidoscope of playing
styles that will
challenge every section
of the advanced string
orchestra. The unexpected
harmonies and exotic
rhythms give this
selection a cinematic
sound that is sure to
intrigue your students
and your audience. Brief
solos for violin and
cello are included.
(6:00).