For Orchestra.
Composed by Nancy
Galbraith. Orchestra.
Study Score. Composed
2002. Duration 20'.
Subito Music Corporation
#90810110. Published by
Subito Music Corporation
(SU.90810110).
Instrumentation
: 3fl(picc), 2ob, 2cl,
2bn; 4hn, 3tpt, 3tbn(bs),
tba; timp, 3perc, hrp,
pno; strings Duration:
20' Full Score & Parts:
available on rental
Composed in 2002.
Published by: Subito
Music Publishing
Composer's Note: De
profundis ad lucem (out
of the depths towards
light) opens with an
atmosphere of stillness,
out of which two main
sections emerge, one
reflecting hope and the
other struggle. Hope is
expressed with a
recurring theme that
gradually layers upon
itself, imparting a
feeling of birth. This
section suddenly gives
way to struggle,
represented with loud
brass, biting accents,
and thundering timpani
figures. Following an
extended musical
landscape, these two
sections return, only in
reverse, with struggle
resolving into hope. The
work ends in tranquillity
as it began. --N.G.
By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Cel...(+)
By Amy Appleby. For Piano
and Voice, with Guitar
chord symbols. Irish,
Folk, Celtic. Level:
Intermediate to Advanced.
Sheet Music. Published by
Wise Publications.
Praises and Prayers 1 Piano, 4 mains - Intermédiaire/avancé Lorenz Publishing Company
Composed by Larry Shackley. For piano, four-hands. Sacred. Moderately advanced. ...(+)
Composed by Larry
Shackley. For piano,
four-hands. Sacred.
Moderately advanced.
Lorenz Publishing Company
#70/1956L. Published by
Lorenz Publishing Company
Mixed choir SKU: FG.55011-348-0 Composed by Matthew Whittall. Score. Fenn...(+)
Mixed choir
SKU:
FG.55011-348-0
Composed by Matthew
Whittall. Score. Fennica
Gehrman #55011-348-0.
Published by Fennica
Gehrman (FG.55011-348-0).
ISBN
9790550113480.
Shik
i began as a request for
a short winter-themed
piece for the
Hamalais-Osakunnan
Laulajat choir in
Helsinki. It eventually
grew into a four
seasons-type cycle on
haiku by a 20th century
Japanese monk Santoka
Taneda. The music of
Shiki is a progression
through various states of
near-stasis. The main
impression the composer
wished to convey was the
one of absolute stillness
at the heart of each
scene, of communion with
the outer world, as if
the viewer were drawing
the landscape into him,
and at the same time
dissolving himself into
it. The voices are
treated texturally, as
well as textually, moving
on slow masses, with the
soft but precisecely
colored vowels of
Japanese creating the
basic sounds, and the
sharper consonants giving
them shape and
definition.
(Voice and Piano) SKU: HL.48186452 Composed by Gabriel Faure. Leduc. Soft...(+)
(Voice and Piano)
SKU:
HL.48186452
Composed
by Gabriel Faure. Leduc.
Softcover. 47 pages.
Alphonse Leduc #AL30692.
Published by Alphonse
Leduc (HL.48186452).
UPC: 888680828363.
9.0x12.0x0.192
inches.
Widely
acclaimed by music lovers
for over a century,
Selected Songs of
Gabriel Faure (1845-1924)
are here collected into
an anthology, complete
with an audio version in
the form of a download
card. Excerpted from the
1st collection published
in 1879, Au bord de l?eau
and Ici bas bestow an
aura of internal reverie
on Sully Prudhomme?s
simple poems, made
palpable by the harmonic
refinement and vocal
fluidity that constitutes
the very essence of
Faurean
charm. Several vocal
pages selected in the 2nd
volume (1897) continue to
be favourites: Les Roses
d?Ispahan restored to
their dreamy stillness,
Les Berceaux whose
oscillation evokes the
swaying of boats, and the
very nostalgic Clair de
lune in which Verlaine?s
words, set to music for
the first time, inspired
Faure to write what would
become one of his
masterpieces: La Bonne
Chanson. From this
cycle, drunk on lovelorn
lyricism, the collection
retains Puisque l?aube
grandit, an exalted
melody if there ever was
one, and La lune blanche
luit dans les bois, a
nocturnal landscape in F
sharp major ? two pearls
that distil the same
mystery of solace..
37 Favourite Songs. By Margery Hargest Jones. (Voice and Piano). Boosey and Haw...(+)
37 Favourite Songs. By
Margery Hargest Jones.
(Voice and Piano). Boosey
and Hawkes Voice. Book
only. Size 8.25x11.75
inches. 88 pages.
Published by Boosey &
Hawkes.
1 or 2 soprano recorders (Ss) SKU: HL.49002228 Folk Songs of the Briti...(+)
1 or 2 soprano recorders
(Ss)
SKU:
HL.49002228
Folk
Songs of the British
Isles. Arranged by
Franz Julius Giesbert.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 16 pages.
Schott Music #ED 10013.
Published by Schott Music
(HL.49002228).
Seven
Little Pieces.
Composed by William Grant
Still. Large Score. 36
pages. Duration 12
minutes. Carl Fischer
Music #SC89L. Published
by Carl Fischer Music
(CF.SC89L).
William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following
ways:Â William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following ways:
Li’l Scamp If one
were to base his judgment
on the volume of sound,
he would think this
little fellow, who
delights in playing
childish pranks, a big
scamp. But the aptness of
the title is determined
by the brevity of the
piece rather than by the
volume of sound.
Honeysuckle A musical
suggestion of the
saccharine odor of the
honeysuckle. Dance This
title is
self-explanatory. Brown
GirlA tone picture of a
lovely girl. Mah Bones Is
Creakin’An old
man, afflicted with
rheumatism, complains
loudly. BlueThe lament of
a weary soul. Clap
Yo’
Han’sThe
participants in a game
for children form a
circle and clap their
hands at intervals.
Composed by Bud Woodruff.
SWS FS. Carl Fischer
Concert String Orchestra
Series. Set of Score and
Parts. With Standard
notation.
16+4+16+10+10+10+2+16
pages. Duration 2
minutes, 54 seconds. Carl
Fischer Music #CAS98.
Published by Carl Fischer
Music (CF.CAS98).
ISBN
9781491146583. UPC:
680160904082. 9 x 12
inches. Key: G
major.
Composer Bud
Woodruff takes his
musical inspiration for
Adventurer's Dream from a
rooster named Wally. Mr.
Woodruff turns this
charming four-note crow
into the main thematic
material for this piece
that is reminiscent of
classic movie
scores. The principal
theme to this piece has
an interesting history .
We had a very young
rooster named Wally . He
had a quite rhythmic
four-pitched crow, which
was very unique and
consistent . As he aged,
his crow settled into
pitches and the opening
melodic figure of this
piece is the very pitches
and rhythm of
Wally’s crow .
However, Wally had a
touch of a glissando
between the last two
pitches, which I chose to
eliminate, for
musicality’s sake
. Wally's crow is spun
out in different ways and
used one way or another
in all the sections of
the piece . Wally was a
very energetic, if not
egotistical, young bird,
and the piece should be
performed accordingly, in
a dashing, swashbuckling,
heroic style, which Wally
would appreciate greatly
and agree that it was
very
appropriate!Rehearsal
suggestions:The most
difficult thing to
accomplish in this work
will be deciding if you
want the repeated
eight-note figure on the
string or off the string
. I don’t care as
long as it sounds
staccato . On the string,
it needs to be played at
or by the camber point;
off the string, that
point will change
depending upon your
tempo, but the stroke
itself should remain
consistent .Although the
basses never have the
melody, they are a
critically important
section and can make or
break this piece . Their
part counters the others
and fills in rhythmic
gaps in a number of
places . It needs to be
played aggressively and
metronomically; they are
the glue that makes the
piece work . The cellos
need to sing for all they
are worth at m . 63 and
do so with joy in their
hands . Their theme needs
to be very lyrical and
smooth . The
countermelody at m . 79
should be understated,
yet not buried while
being intertwined with
the cellos’ theme
. It harkens back to the
main theme and needs a
dreamy quality to it .The
piece was written as a
string orchestra piece .
The optional harp part
was added later and is
not necessary for an
effective performance of
the piece . However, it
does add some extra
variety and color to the
piece, and reinforces the
basses when they fill in
those rhythmic gaps to
which I referred earlier
.A very special thanks
goes to harpist Jane
Minnis for the great and
insightful suggestions
for this part .Thank you
for playing this piece .
I trust you will enjoy it
as much as I do .
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Flute , viola & harp SKU: HH.HH316-FSP Composed by Luna Alcalay. Flute , ...(+)
Flute , viola & harp
SKU: HH.HH316-FSP
Composed by Luna Alcalay.
Flute , Viola & Harp.
Full score and parts.
Edition HH Music
Publishers #HH316-FSP.
Published by Edition HH
Music Publishers
(HH.HH316-FSP).
ISBN
9790708092650.
Un
sogno a tre for flute,
viola and harp was
written in 1990 for a
trio of young
instrumentalists and
first performed in the
USA. In the enigmatic
words of the composer:
the piece has no
beginning, no middle and
no end ... simply three
musicians telling each
other something and
dreaming a little ...
sound is arising and that
is enough .... The three
parts could be said to
interact -- the harp
creating a foundation,
and the flute and viola
forming a relief -- yet
they never really meet,
nor do they coalesce
within the overall
texture. Pitch and rhythm
are strictly organized,
but any attempt at
dramatic development has
been consciously avoided.
The result, according to
the composer, is a relief
like mass that moves and
sometimes stays still,
the density of the events
changing within and
between each section.
Despite the seemingly
amorphous nature of Un
sogno a tre, the
structural unity of the
piece is never in
doubt.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Solo Viola & Flute, Clarinet in B-flat, Two Violins, Cello and Harp SKU: ST.Y...(+)
Solo Viola & Flute,
Clarinet in B-flat, Two
Violins, Cello and Harp
SKU: ST.Y244
Composed by Rhian Samuel.
Chamber music. Solo Viola
and Flute, Clarinet in B
flat, Two Violins, Cello
and Harp. Score and
parts. Stainer & Bell
Ltd. #Y244. Published by
Stainer & Bell Ltd.
(ST.Y244).
ISBN
9790220222214.
Comm
issioned by Mobius for
its tenth anniversary
project, and first
performed by them at the
Wigmore Hall on 22 March
2008, Emerging
(lightly) is a
showcase for solo viola,
flute, clarinet, harp,
two violins and cello.
The music is fleet and
light, concerned with the
developing relationship
between two contrasting
ideas that is mediated by
the solo instrument.
Writing in The Times,
Richard Morrison praised
Emerging
(lightly) for its
musical argument: 'Here
the viola was the still
centre of a quicksilver
polyphonic whirl, before
intoning a haunting
folk-like tune over an
oasis of calm G major.
The impression was of a
serene character quelling
fractious colleagues.
Intriguing and
stimulating ...'.
(Harp Solo). Composed by William Grant Still (1895-1978). For Harp, Strings (Har...(+)
(Harp Solo). Composed by
William Grant Still
(1895-1978). For Harp,
Strings (Harp). String
Solos & Ensembles -
Soloist & String
Orchestra. Southern
Music. Grade 5. Southern
Music Company #XR5SP.
Published by Southern
Music Company
Composed
by Stacy Garrop. Study
Score. With Standard
notation. 66 pages.
Duration 19 minutes.
Theodore Presser Company
#415-41156. Published by
Theodore Presser Company
(PR.415411560).
UPC:
680160642946. 9 x 12
inches.
The
Mythology Suite consists
of three movements of my
Mythology Symphony, which
I arranged for large wind
ensemble. The
arrangements of The
Lovely Sirens and
Penelope Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra's 2017
Japan tour. I added
Pandora Undone to
complete the set; Stephen
Squires and the Chicago
College of Performing
Arts gave the premiere of
the entire Suite in
February 2017. Movement
1: The Lovely Sirens The
Sirens were sea nymphs,
usually pictured as part
woman and part bird, who
lived on a secluded
island surrounded by
rocks. Their enchanting
song was irresistible to
passing sailors, who were
lured to their deaths as
their ships were
destroyed upon the rocks.
The Lovely Sirens
presents three ideas: the
Sirens' beautiful song,
an unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors' peril is
represented by the Morse
code S.O.S. signal (three
dots, three dashes, and
three dots--represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.
Movement 2: Penelope
Waits This quiet movement
represents Queen
Penelope, the faithful
wife of Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches. Movement 3:
Pandora Undone This
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naive
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new
burden. The Mytholo
gy Suite consists of
three movements of
my Mythology
Symphony, which I
arranged for large wind
ensemble. The
arrangements of The
Lovely
Sirens and Penelope
Waits were
commissioned by James
Ripley and Carthage
College for the Carthage
Wind Orchestra’s
2017 Japan tour. I
added Pandora
Undone to complete the
set; Stephen Squires and
the Chicago College of
Performing Arts gave the
premiere of the entire
Suite in February
2017.Movement 1:Â The
Lovely
SirensThe Sirens were
sea nymphs, usually
pictured as part woman
and part bird, who lived
on a secluded island
surrounded by rocks.
Their enchanting song was
irresistible to passing
sailors, who were lured
to their deaths as their
ships were destroyed upon
the rocks. The Lovely
Sirens presents three
ideas: the Sirens’
beautiful song, an
unfortunate group of
sailors whose course
takes them near the
island, and the disaster
that befalls the sailors.
The sailors’ peril
is represented by the
Morse code S.O.S. signal
(three dots, three
dashes, and three
dots—represented
musically by short and
long rhythms). The S.O.S.
signal grows increasingly
more insistent and
distressed as it becomes
obvious that the sailors,
smitten with the voices
of the Sirens, are headed
for their demise.Movement
2:Â Penelope WaitsThis
quiet movement represents
Queen Penelope, the
faithful wife of
Odysseus, as she
patiently waits twenty
years for her husband's
return from fighting the
Trojan Wars. Penelope
herself is represented as
an oboe. She is
accompanied by the
ensemble as she keeps at
bay the suitors who wish
to marry her and inherit
her riches.Movement
3:Â Pandora UndoneThis
movement is, in turns,
both lighthearted and
serious. The music
depicts a young, naïve
Pandora who, while
dancing around her house,
spies a mysterious box.
She tries to resist
opening it, but her
curiosity ultimately gets
the best of her. When she
cracks the lid open and
looks inside, all evils
escape into the world.
Dismayed by what she has
done, she looks inside
the box once more. She
discovers hope still in
the box and releases it
to temper the escaped
evils and assuage
mankind's new burden.