(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB...(+)
(No. 3 from Love Was My
Lord and King ). By
Gwyneth W. Walker
(1947-). For TTBB choir,
chamber Orchestra or
Piano. Choral, general.
Octavo. 12 pages.
Published by E.C.
Schirmer Publishing
Chamber Ensemble SKU: AY.CM3567PM Composed by Juan Campoverde Q. Ensemble...(+)
Chamber Ensemble
SKU:
AY.CM3567PM
Composed
by Juan Campoverde Q.
Ensembles - Chamber
Music. Score & Parts.
Duration 5'30. Periferia
Publishing #CM3567PM.
Published by Periferia
Publishing (AY.CM3567PM).
ISBN
9790543574953.
Ilum
inaciones, with
illustrations by Julio
Mosquera, is a score full
of graphic beauty. The
music and the drawings
integrate into a
collection object. At the
same time, the sonority
of the work flows through
fantastic paths and when
the brief discourse ends,
the ecstatic audience
returns from a
parenthesis of unreality.
Looking at and listening
to this work can create
addiction.
Sonority [Conducteur et Parties séparées] Forton Music
Fl. Ob. Cl. Pft. - Advanced SKU: FT.FM813 Composed by Roma Cafolla. Unusu...(+)
Fl. Ob. Cl. Pft. -
Advanced
SKU:
FT.FM813
Composed by
Roma Cafolla. Unusual
chamber music sonata in 3
movements. Classical.
Score and Parts. Forton
Music #FM813. Published
by Forton Music
(FT.FM813).
Chamber Music Piano SKU: PR.110418250 Composed by Shulamit Ran. Sws. Perf...(+)
Chamber Music Piano
SKU: PR.110418250
Composed by Shulamit Ran.
Sws. Performance Score.
12 pages. Duration 11
minutes. Theodore Presser
Company #110-41825.
Published by Theodore
Presser Company
(PR.110418250).
ISBN
9781491133859. UPC:
680160683345. 9 x 12
inches.
This
intriguing 11-minute work
builds on alternations
between declamatory
unmetered phrases
(beginning as
“sonorous, rubato,
with great aplomb and
resonanceâ€) and
strictly motoric rhythmic
sections, developing in
waves of increasing drama
and intensity.
Commissioned by the
Naumburg Foundation for
pianist Xiaohui
Yang’s Carnegie
Hall premiere. Ballade
is a one-movement work of
approximately 11 minutes,
divided into three main
parts that are played
without significant
break.Ballade alternates
sections where the
performer is invited to
apply great interpretive
freedom, especially on
the temporal plane, with
contrasting sections that
are quite precise and
rhythmic. Although
carefully notated, the
“freerâ€
sections (often marked
rubato) certainly allude
at times to the kind of
repertoire that is
familiar to most concert
pianists, doing so not by
way of quotation but by
the type of expressivity,
affect, and even
passagework. Thus, the
performer should think of
the score as a
“blueprint,â€
where the many
descriptive words I have
inserted throughout the
score (ranging from
sonorous, rubato, with
great aplomb and
resonance as the work
begins, to with greater
motion, in a series of
ever-expanding
“waves†later
on) are intended to act
as triggers for
one’s sense of
imagination and fantasy
to take off and bring the
music alive! An
inscription in the score
urges the pianist to play
fearlessly and
exuberantly, but also
tenderly!
Composed
by Eric Ewazen. Sws. Full
score. 24 pages. Theodore
Presser Company
#114-41847S. Published by
Theodore Presser Company
(PR.11441847S).
UPC:
680160641758.
MARS
HILL FANTASIA was
commissioned by and is
gratefully dedicated to
Mars Hill College (now
Mars Hill University), as
part of the festivities
celebrating their
Sesquicentennial in 2006.
The work was commissioned
by their Low Brass
instructor, and my
friend, Dr. James
Sparrow. The university
is located right in the
heart of the beautiful
mountain area of Western
North Carolina, and I
wrote a work which both
celebrates the long and
distinguished history of
Mars Hill University and
its lovely mountain
setting. The work is
scored for two combined
ensembles -- an 8-part
low brass ensemble of
trombones, euphoniums,
and tubas, and an 8-part
percussion ensemble of
both mallet and
non-pitched percussion
instruments. The music
contains rich, sonorous,
and joyful gestures, with
stentorian fanfares,
resonant chords, and
lyrical melodies. It was
given a truly exciting
and festive premiere in
October 2006 by the
combined low brass and
percussion ensembles of
the music department of
Mars Hill. MARS HILL
FANTASIA was commissioned
by and is gratefully
dedicated to Mars Hill
College (now Mars Hill
University), as part of
the festivities
celebrating their
Sesquicentennial in
2006.The work was
commissioned by their Low
Brass instructor, and my
friend, Dr. James
Sparrow. The university
is located right in the
heart of the beautiful
mountain area of Western
North Carolina, and I
wrote a work which both
celebrates the long and
distinguished history of
Mars Hill University and
its lovely mountain
setting.The work is
scored for two combined
ensembles — an
8-part low brass ensemble
of trombones, euphoniums,
and tubas, and an 8-part
percussion ensemble of
both mallet and
non-pitched percussion
instruments. The music
contains rich, sonorous,
and joyful gestures, with
stentorian fanfares,
resonant chords, and
lyrical melodies. It was
given a truly exciting
and festive premiere in
October 2006 by the
combined low brass and
percussion ensembles of
the music department of
Mars Hill.
Composed
by Eric Ewazen. Sws. Set
of Score and Parts.
24+4+4+4+4+4+4+4+4+4+2+4+
4+4+2+2+4 pages. Duration
4:30. Theodore Presser
Company #114-41847.
Published by Theodore
Presser Company
(PR.114418470).
UPC:
680160641741.
MARS
HILL FANTASIA was
commissioned by and is
gratefully dedicated to
Mars Hill College (now
Mars Hill University), as
part of the festivities
celebrating their
Sesquicentennial in 2006.
The work was commissioned
by their Low Brass
instructor, and my
friend, Dr. James
Sparrow. The university
is located right in the
heart of the beautiful
mountain area of Western
North Carolina, and I
wrote a work which both
celebrates the long and
distinguished history of
Mars Hill University and
its lovely mountain
setting. The work is
scored for two combined
ensembles -- an 8-part
low brass ensemble of
trombones, euphoniums,
and tubas, and an 8-part
percussion ensemble of
both mallet and
non-pitched percussion
instruments. The music
contains rich, sonorous,
and joyful gestures, with
stentorian fanfares,
resonant chords, and
lyrical melodies. It was
given a truly exciting
and festive premiere in
October 2006 by the
combined low brass and
percussion ensembles of
the music department of
Mars Hill. MARS HILL
FANTASIA was commissioned
by and is gratefully
dedicated to Mars Hill
College (now Mars Hill
University), as part of
the festivities
celebrating their
Sesquicentennial in
2006.The work was
commissioned by their Low
Brass instructor, and my
friend, Dr. James
Sparrow. The university
is located right in the
heart of the beautiful
mountain area of Western
North Carolina, and I
wrote a work which both
celebrates the long and
distinguished history of
Mars Hill University and
its lovely mountain
setting.The work is
scored for two combined
ensembles — an
8-part low brass ensemble
of trombones, euphoniums,
and tubas, and an 8-part
percussion ensemble of
both mallet and
non-pitched percussion
instruments. The music
contains rich, sonorous,
and joyful gestures, with
stentorian fanfares,
resonant chords, and
lyrical melodies. It was
given a truly exciting
and festive premiere in
October 2006 by the
combined low brass and
percussion ensembles of
the music department of
Mars Hill.
Oboe and Orchestra SKU: HL.14028041 Composed by Poul Ruders. Music Sales ...(+)
Oboe and Orchestra
SKU: HL.14028041
Composed by Poul Ruders.
Music Sales America.
Classical. Score.
Composed 2002. 76 pages.
Edition Wilhelm Hansen
#WH30497. Published by
Edition Wilhelm Hansen
(HL.14028041).
ISBN
9788759810682.
12.0x16.5x0.533
inches.
The Small
concerto for solo oboe
and chamber orchestra was
commissioned by The Royal
Library of Copenhagen for
the inauguration of a
concert hall located at
the new library annex,
the so-called Black
Diamond, September 1999.
The work as such focuses
more on the contemplative
and sonorously introvert,
rather than more
virtuosity; it is in four
movements, what could be
called four little
tone-poems on (and
inspired by) the names of
the four moon craters
known as: Lake of Dream -
Ocean of Storms - Sea of
Tranquillity - Lake of
Death, four enigmatic and
deeply fascinating
ancient conceptions of
the landscape on this our
closest, but at the same
time most legendary and
myth-shrouded celestial
body. The work was
composed in 1998 for
Athelas-Sinfonietta
Copenhagen and Swedish
obo virtuoso Helen
Jahren. The work was
dedicated to Helen
Jahren.
Chamber Music Clarinet 1, Clarinet 2, Piano SKU: CF.CY3336 Composed by Ma...(+)
Chamber Music Clarinet 1,
Clarinet 2, Piano
SKU:
CF.CY3336
Composed by
Marga Richter. Set of
Score and Parts. With
Standard notation. 20+16
pages. Carl Fischer Music
#CY3336. Published by
Carl Fischer Music
(CF.CY3336).
ISBN
9780825881565. UPC:
798408081560.
Havin
g travelled to Tucson,
Arizona for the premiere
of another of her works,
Richter was captivated by
the beauty of the Sonoran
Desert. When commissioned
by the Drucker Trio
(Stanley and Naomi
Drucker, clarinettists,
and Blanche Abram,
pianist), it was this
scene that she wanted to
capture musically.
According to Richter, The
rich but disembodied
timbre of the clarinets
(in this case, both in
A), especially when
combined with the
sonorousness of the
piano, seemed to be the
ideal combination of
instruments for such a
piece..
Chamber Ensemble SKU: HL.14027980 Composed by Poul Ruders. Music Sales Am...(+)
Chamber Ensemble
SKU:
HL.14027980
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. 72 pages. Edition
Wilhelm Hansen #WH29856.
Published by Edition
Wilhelm Hansen
(HL.14027980).
ISBN
9788759856819. 12x16.5
inches.
Danish.
Corpus Cum
Figuris is a uniform
composition in three
major parts. The first
part is a slow marche
funébre, a
kind of prologue with
dark and sombre sounds
and a massive wall of
chords which leads us to
the other part of the
works where the static
and solemn atmosphere is
suddenly stopped and
replaced by a
rhythmic/melodic ritual
which accelerates the
music. In the third part
the block structure is
softened gradually,
different figurations and
stylistic elements arise
to live their own lives:
distant waltzes and
pictures from the Middle
Ages appear in this
gigantic sonorous body.
After a wild percussion
orgy a short flash-back
and a scream from the
edge end Corpus cum
Figuris. The piece has no
literal content at all,
even though the title
leads the thought to
Adrian Leverkühn's
Apocalipsis cum Figuris
from Thomas Mann's Doctor
Faustus. More likely, my
piece will arouse
associations as with all
my music. It has to be
heard in it's own
conditions, in this case
as a big body of music or
perhaps as a great screen
where the details, of
course, are part of the
whole body but at the
same time are foreign and
odd. It is as if one
climbs a mountain and
from the top of that
mountain discovers a
world which is completely
different from expected.
Corpus cum Figuris for 20
musicians was composed in
1984, commissioned by
Ensemble
InterContemporain and the
Danish Radio. Ensemble
InterContemporain world
premiered the work in
April 1985 conducted by
Peter Eötvös.
The piece was also played
at the ISCM-festival in
Amsterdam by Netherland
Radio Chamber Orchestra
conducted by Ernest
Bour.
Chamber Music alto Flute SKU: PR.114423380 Composed by Christine Potter. ...(+)
Chamber Music alto Flute
SKU: PR.114423380
Composed by Christine
Potter. Performance
Score. 4 pages. Duration
3 minutes. Theodore
Presser Company
#114-42338. Published by
Theodore Presser Company
(PR.114423380).
ISBN
9781491135129. UPC:
680160686988.
Inspi
red by her
friends’
beatboxing and
exploration of jazz,
flutist Chris Potter
joins the fun and brings
us along in this
introduction to swing
rhythm and the basics of
beatboxing. Playing off
the multiple meanings of
“mode†and
“à la
modeâ€, Dr. Potter
fashionably explores a
world of varied scales
and modern percussive
sonorities where the ch-
ch- ch- beatboxing attack
leads players to chant
about
ch-ch-chocolate!. A
Few Words from ChrisThis
title came to me out of
nowhere at 4 AM one
morning, and I just had
to write a piece to go
along with it! I love
words with multiple
meanings, and
“mode†has
three!The French term
à la mode means in a
current, fashionable
style: in other words,
popular. The alto flute
certainly fits that
description!For
Americans, the phrase is
used when describing the
dessert pie à la mode,
meaning pie with ice
cream, typically vanilla.
Pie à la mode has an
interesting history! The
phrase and the American
dessert is attributed to
John Gieriet. He was born
in Switzerland, later
moved to France, and must
have studied cooking
because two years after
moving to the U.S. in
1854, Gieriet was put in
charge of all the food
service at the White
House. He served under
two presidents, Franklin
Pierce and James
Buchanan. When that job
ended, he moved to
Duluth, Minnesota and
bought a hotel. In 1885,
a menu for the hotel
offered a dessert called
pie à la mode, the
first time this phrase
had appeared in print.
Originally it was
blueberry pie with
vanilla ice cream.In
music, the term mode
means a series of notes
that have an identifiable
pattern of intervals
encompassing an octave.
Major and minor scales
are modes, as are other
scale forms such as
pentatonic, dorian,
phrygian, and lydian.
ALTO À LA MODE uses
three modes, all based on
D. In this piece, you
will find the D blues
scale (D F G Ab A C D),
the D dorian (D E F G A B
C D), and the D minor
natural form (D E F G A
Bb C D).In addition to
the three melodic modes,
I wanted a rhythmic idea
or two to unify the
piece. I decided touse
the rhythms of the word
vanilla: three short
notes with emphasis on
the second note, and
chocolate: two short
notes with emphasis on
the first note. Also
please notice that the
spoken syllable cha is
the beginning sound of
chocolate! All this and
no calories!I credit my
fabulous friend Ali
Ryerson for the jazz
influence, and the
wonderful composer Nicole
Chamberlain for the
beatboxing
inspiration.
From: Funf Spruche und Psalmen fur mehrstimmigen Chor op. 34. Composed by Hans...(+)
From: Funf Spruche und
Psalmen fur mehrstimmigen
Chor op. 34. Composed by
Hans
Fahrmann. Edited by
Dieter
Zeh. Carus digital: Extra
digital products. Full
Score.
Op. 34,1. Duration 5
minutes.
Published by Carus Verlag
From: Funf Spruche und
Psalmen fur mehrstimmigen
Chor op. 34. Composed
by Hans Fahrmann. Edited
by Dieter Zeh. Carus
digital: Extra digital
products. Full Score. Op.
34, No. 2. Duration 2
minutes. Published by
Carus Verlag (CA.177200).
ISBN 9790007253875.
German.
The
renowned conductor
Frieder Bernius regards
the motets of Hans
Fahrmann (1860-1940) as
an indispensable and
extremely welcome
addition to the late
Romantic repertoire.
Fahrmann was born in
Saxony. Although his
choral works are
generally little known
nowadays, during his
lifetime he was
considered the Richard
Strauss of the organ.
With their challenging
harmonies which stretch
tonality to its extremes,
they represent an
exciting addition to the
chamber choir repertoire.
And not least, their
sonorous expressivity is
thanks to their chromatic
richness.
Frieder
Bernius has recorded the
Motets opp. 34, 45, and
65 for the first time on
CD with the SWR
Vokalensemble Stuttgart
(Carus 83.499).
This product
includes the score and
the parts (A4 sized).
American-Finn
ish composer Alex Freeman
(b.1972) has established
himself among the
foremost composers of
choral music in Finland.
A dedicated citizen of
his musical community, a
teacher, and a choral
singer himself, he
composes music that
reflects an appreciation
for a wide range of
aesthetics and a passion
for communicating with
listeners and performers.
In his choral works, in
particular, we find music
that aims to be sonorous,
melodic, and resonant,
but is always crafted to
carefully avoid the
cliches that can burden
conventional tonality.
His instrumental
works run the gamut: a
cantata with orchestra
based on poetry of
Whitman; a significant
body of solo piano works
that reveal deep roots in
everything from austere
absolute music to soaring
elegaic rhetoric (see
Albany Records, Inner
Voice); his chamber work
Blueshift (Navona
Records), which is a kind
of paean to Reich and
Adams in miniature;
open-ended modular works,
like various iterations
of his Slow All Clocks
for electronic media,
solo clarinet, and mixed
choirs of kanteles; and,
recently, some new
directions in microtonal
music.
Añavingo for Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor [Conducteur et Parties séparées] Periferia Music
Wind Quintet SKU: AY.CM3524PM Composed by Aristides Perez Farina. Ensembl...(+)
Wind Quintet
SKU:
AY.CM3524PM
Composed
by Aristides Perez
Farina. Ensembles -
Chamber Music. Score &
Parts. Duration 7'.
Periferia Publishing
#CM3524PM. Published by
Periferia Publishing
(AY.CM3524PM).
ISBN
9790543572805.
This
quintet is like a
sonorous excursion. In
fact, it is inspired in
the memories of a school
visit to Anavingo's
gully, in Tenerife. The
orography and the singing
of the birds are traduced
into religious images.
Easy and brilliant in
terms of performing.
Trombone quartet SKU: P2.80184 Composed by James Meador. Chamber music, C...(+)
Trombone quartet
SKU:
P2.80184
Composed by
James Meador. Chamber
music, Contemporary.
Published by Potenza
Music (P2.80184).
Quartet No. 1
by James Meador was
written in the summer of
2004 and premiered in
August of that same year
by the UL Lafayette
Trombone Quartet at a
benefit concert for the
Acadiana Symphony
Orchestra in Lafayette,
Louisiana. The piece
consists of two
movements, each designed
to highlight the choral
characteristics of the
trombone quartet (or
trombone choir), but with
a strong emphasis on
dissonance. Novus
Sonorous opens with a
rhythmic and dissonant
introduction before
leading into a three way
struggle for the melody.
A singing line eventually
emerges and leads us into
a powerful chordal
motive, then backs down
to another closely scored
and dissonant chorale.
The opening statement
returns briefly and
carries us back to the
mighty chordal section
before a mournful and
ponderous
conclusion. Ludus
Tonalis begins with an
intense and again closely
scored, very dissonant
chorale figure, then
immediately jumps into a
playful mixed meter
section bouncing around
from 7/8 to 2/4 to 6/8.
This section leads into a
sort of rhythmic fanfare
where the melody is
derived from entrances of
the chord tones, then
dies down into somewhat
of a dark portrayal of
the main theme in a
choral style. Once again
we encounter the playful
section before closing
out the piece on a
forceful and energetic
drive to the end.
From: Funf Spruche und Psalmen fur mehrstimmigen Chor op. 34. Composed by Hans...(+)
From: Funf Spruche und
Psalmen fur mehrstimmigen
Chor op. 34. Composed by
Hans
Fahrmann. Edited by
Dieter
Zeh. Carus digital: Extra
digital products. Full
Score.
Op. 34,4. Duration 5
minutes.
Published by Carus Verlag
Trombone Choir SKU: BT.EMBZ12104 Composed by Frigyes Hidas. Book Only. Co...(+)
Trombone Choir
SKU:
BT.EMBZ12104
Composed
by Frigyes Hidas. Book
Only. Composed 1981. 72
pages. Editio Musica
Budapest #EMBZ12104.
Published by Editio
Musica Budapest
(BT.EMBZ12104).
English-German-Hungari
an.
The work
composed for a chamber
music ensemble of rare
setting (10 trombones + 2
bass trombones) shows a
cyclic layout which is
born out by the order of
the bagatelles and their
movement-like arrangement
(Moderato festivo,
Scherzando, Sostenuto
cantabile, Allegro
giocoso, Lento lugubre,
Valse moderato, Molto
festivo). The sonorous
proportions and dynamics
relationships are given
by the instrumentation
itself which facilitates
rendering. The Seven
Bagatelles develop, above
all, the ability to
instil character into
one's playing.