| Sleddin' Hill Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.024-4453-01 Composed by Shaffer. Young Con...(+)
Concert band - Grade 2
SKU:
CL.024-4453-01
Composed by Shaffer.
Young Concert Band.
Rising Band Series for
Developing Bands! Audio
recording available
separately (item
CL.WFR390). Extra full
score. Composed 2016.
Duration 2 minutes. C.L.
Barnhouse #024-4453-01.
Published by C.L.
Barnhouse
(CL.024-4453-01).
Who
doesn’t remember
the thrill of a sled ride
on a snowy day down the
longest and steepest
hill? Time to get your
warmest jacket on and tie
your boots tight for a
trip down Sleddin’
Hill! The perilous
journey begins by leading
us into a playful melody
in the trumpets. As the
sled picks up speed we
add woodwinds and clever
percussion sound effects.
The ever-increasing tempo
reflects the momentum of
the sled culminating in
an exhilarating finish
when the sled finally
comes to an abrupt stop.
Everyone will enjoy this
trip down Sleddin’
Hill.. $6.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Complete Scottish and English Country Dance Master for Recorders, Part One Flûte à Bec [Partition] - Facile Mel Bay
The Spring Garden. By Patricia M. O'Scannell. For Recorder (All). Songbook. Danc...(+)
The Spring Garden. By
Patricia M. O'Scannell.
For Recorder (All).
Songbook. Dance. Level:
Multiple Levels. Book.
Size 8.75x11.75. 64
pages. Published by Mel
Bay Publications, Inc.
(3)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book - Volume 2 - Mini Edition Fake Book [Fake Book] Hal Leonard
C Instruments. By Various. Fake Book (Includes melody line and chords). Publishe...(+)
C Instruments. By
Various. Fake Book
(Includes melody line and
chords). Published by Hal
Leonard.
$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Empire State Piano seul [Feuillet] - Intermédiaire Alfred Publishing
By W.t. Skye Garcia. For Piano. Piano Suite. Recital Suite Series. Level: Interm...(+)
By W.t. Skye Garcia. For
Piano. Piano Suite.
Recital Suite Series.
Level: Intermediate.
Suite. 12 pages.
Published by Alfred
Publishing.
$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Die Sonne nimmt uns bei der Hand Hofmeister Musikverlag
Children/women choir SKU: HF.FH-5152 Zeitgenossische Chorlieder von Ta...(+)
Children/women choir
SKU: HF.FH-5152
Zeitgenossische
Chorlieder von Tages- und
Jahreszeiten fur Kinder-
oder Frauenchor. A
capella bzw. mit
Klavier. Sheet music.
Friedrich Hofmeister
Musikverlag #FH 5152.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-5152). ISBN
9790203451525. 8.3 x 11.7
inches. 1. Guten
Tag, du junger Morgen
(Rolf Lukowsky); 2.
Gedanken zum Tag (Joachim
Thurm); 3. Eines milden
Abends Blaue (Horst
Irrgang); 4. Der Abend
deckt sein blaues Tuch
(Siegfried Bimberg); 5.
Aus dem Wald am See (Rolf
Lukowsky); 6. Da steht
ein Apfelbaum (Siegfried
Bimberg); 7. Regen, komm,
Sonne, komm (Gunter
Fredrich); 8. Doch in mir
ist Sommerwetter (Horst
Irrgang), 9. Die Sonne
nimmt uns bei der Hand
(Rolf Lukowsky); 10.
Querfeldein wandern
(Lothar Voigtlander); 11.
Kuckuck hat sich zu Tod
gefallen (Gerd Domhardt);
12. Wiese, grune Wiese
(Lothar Voigtlander); 13.
Lagerfeuer am See (Rolf
Lukowsky); 14. Trip,
trip, trop (Jurgen
Golle); 15.
Herbsteskommen (Horst
Irrgang); 16. Der Herbst
steht auf der Leiter
(Jurgen Golle); 17.
Schwalben auf
Telegraphendrahten
(Manfred Grabs); 18. Der
Baum (Manfred Grabs); 19.
Oktobertag (Siegfried
Bimberg); 20.
Novemberregen (Gerd
Domhardt); 21. Auf die
Strassen fallt ein Schnee
(Rolf Lukowsky); 22.
Winter macht uns nicht
bange (Gunter Fredrich);
23. Januarlied (Gerd
Domhardt). $22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Real Book - Volume 2 Instruments en Sib [Fake Book] Hal Leonard
B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8....(+)
B-flat Edition. By
Various. Fake Book
(Includes melody line and
chords). Size 8.5x11
inches. Published by Hal
Leonard.
(1)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acadia [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500103F
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F). ISBN
9781491131763. UPC:
680160680290. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $39.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard
Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softco...(+)
Book with Play-Along
Tracks.
Composed by Various. Real
Book Play-Along.
Softcover
Audio Online. 440 pages.
Published by Hal Leonard
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume 2: Second Edition Instruments en Do [Partition + Accès audio] Hal Leonard
Online Play-Along Tracks. Composed by Various. Real Book Play-Along. Audio Fil...(+)
Online Play-Along Tracks.
Composed by Various. Real
Book Play-Along. Audio
File.
4 pages. Published by Hal
Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Polish Folk Songs [Conducteur] Carl Fischer
Chamber Music Bass Clarinet, Cello, Clarinet, Percussion, Piano, Viola, Violin <...(+)
Chamber Music Bass
Clarinet, Cello,
Clarinet, Percussion,
Piano, Viola, Violin
SKU: CF.MXE18F
For Chamber
Ensemble. Composed by
Lee Hyla. SWS. Full
score. With Standard
notation. 44 pages.
Duration 13 minutes. Carl
Fischer Music #MXE18F.
Published by Carl Fischer
Music (CF.MXE18F).
ISBN 9780825885341.
UPC: 798408085346. 9 x 12
inches. From the
composer: “Polish
Folk Songs was inspired
by music I heard on a
trip I took to Zakopane,
a town that is located a
the foot of the Tatra
Mountains in Southern
Poland. I was completely
taken by the music of the
region, which can be
characterized as clear,
mournful, unpredictable
in tempo and meter, and
of vibrant timbre. In my
composition I have taken
a number of the songs
commonly heard in the
area and re-combined
them, allowing them to
bump heads as well as
interact
peacefully.†In
three movements, Polish
Folk Songs was
commissioned by Catherine
and Paul Buttenweiser for
Boston Musica Viva, who
premiered it in May of
2007. For advanced
players. Instrumental
parts are available on
custom print. Polish
Folk Songs was inspired
by music I heard on a
trip I took on 2003 to
Zakopane, atown that is
located at the foot of
the Tatra Mountains in
southern Poland. I was
completelytaken by the
music of the region,
which can be
characterized as clear,
annunciatory,mournful,
unpredictable in tempo
and meter, and timbrally
vibrant. In my
composition Ihave taken a
number of the songs
commonly heard in the
area, and re-combined
them,allowing them to
bump heads as well as to
interact peacefully. The
piece is in
threemovements, and is
scored for clarinet, bass
clarinet, violin, viola,
cello, piano
(doublingelectronic
keyboard), and percussion
(doubling melodica). Its
duration is
approximatelytwelve
minutes.Polish Folk Songs
was commissioned by
Catherine and Paul
Buttenweiser for Boston
MusicaViva, who gave it
its first performance in
May 2007. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| One Small Step... Orchestre à Cordes [Conducteur et Parties séparées] Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS29 Composed by...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS29 Composed by
Doris Gazda. This
edition: Medium
Easy/Medium. Carl Fischer
Concert String Orchestra
Series. Classical. Score
and Parts. With Standard
notation. 12 pages. Carl
Fischer Music #CAS29.
Published by Carl Fischer
Music (CF.CAS29). ISBN
9780825860959. UPC:
798408060954. 8.5 X 11
inches. Key: C
major. A
programatic work by
composer Doris Gazda that
sets out to depict the
historic moon landing by
the Apollo 11 astronauts
and the famous first step
by Neil Armstrong. A
sound portrait of this
remarkable event in
America history. In
July, 1959 the world
watched and listened as
the astronauts of Apollo
11 traveled from the
Earth to the moon. The
mission, launched by
NASA, successfully
carried men to the
surface of the moon and
returned them safely to
earth. The spaceship was
made up of a command
module, Columbia, and a
lunar module, Eagle.
Astronauts Neil
Armstrong, flight
commander, and Buzz
Aldrin, pilot of the
lunar module, actually
walked on the moon. The
third astronaut, Michael
Collins, piloted
Columbia, the command
module that orbited the
moon while Armstrong and
Aldrin were on the lunar
surface.The 238,000-mile
trip to the moon took
four days. Apollo 11 fell
into orbit 60 miles above
the moon's surface. The
Eagle separated from
Columbia, orbited the
moon nine miles above the
surface and then made a
powered descent, touching
down on the moon in the
Seat of Tranquility. Six
hours after landing,
Armstrong stepped onto
the moon's surface
uttering these memorable
words that brought to
reality the possibilities
of space travel and
exploration, That's one
small step for man, one
giant leap for
mankind.Armstrong and
Aldrin spent two hours
walking on the lunar
surface. They set up some
scientific equipment,
raised an American flag
and left a plaque signed
by the Apollo 11 crew and
President Richard Nixon,
reading:Here men from
planet earth first set
foot upon the moon. July
1969 A.D. We came in
peace for all
mankind.Twenty-one hours
after landing, the Eagle
with Armstrong and Aldrin
onboard, left the moon to
reunite with Columbia.
After docking
successfully, all three
men got into Columbia.
They jettisoned the Eagle
and Columbia left lunar
orbit to make the return
trip. Two days later
Columbia re-entered the
Earth's atmosphere and
splashed down in the
Pacific Ocean. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book - Volume 2 Instruments en Do [Partition + Accès audio] Hal Leonard
C Edition Book/USB Flash Drive Pack. Composed by Various. Real Book Play- Alon...(+)
C Edition Book/USB Flash
Drive Pack. Composed by
Various. Real Book Play-
Along. Softcover with
USB.
440 pages. Published by
Hal
Leonard
$85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mary Poppins Returns
Piano, Voix et Guitare Hal Leonard
Music from the Motion Picture Soundtrack. Composed by Marc Shaiman and Scott W...(+)
Music from the Motion
Picture
Soundtrack. Composed by
Marc
Shaiman and Scott
Wittman.
Piano/Vocal/Guitar
Songbook.
Movies, Children, Disney.
Softcover. 104 pages.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Contemporary Fiddle Tunes from the Northeast of Ireland - Intermédiaire Mel Bay
Fiddle - Beginning - Intermediate SKU: MB.30670 Composed by Rowan Leslie....(+)
Fiddle - Beginning -
Intermediate SKU:
MB.30670 Composed by
Rowan Leslie. Perfect
binding. Celtic / Irish.
Book. 156 pages. Mel Bay
Publications, Inc #30670.
Published by Mel Bay
Publications, Inc
(MB.30670). ISBN
9781513465296. 8.75 x
11.75 inches. This
unique collection
celebrates the
contemporary fiddle music
of northeast Ireland,
much of it for the first
time in print. Not
surprisingly, given its
location and long history
of traditional music, the
fiddle music of this
region shares some
characteristics with
Scottish music, yet it
has its own distinct
style. For those who are
not familiar with this
ruggedly attractive part
of Ireland, this book
will introduce you to
some of its music and
musicians. The tunes
presented here, collected
by County Antrim fiddler,
Rowan Leslie, have all
been written relatively
recently by local
musicians. Each tune is
offered in two
versions?one with the
barebones melody and
suggested accompaniment
chords, and a second with
ornamentation,
articulation and bowing
details. All tune types
from northeast Ireland
are represented,
including jigs and reels,
polkas and hornpipes,
marches, barn dances and
waltzes, plus set dances
and slow airs. Moreover,
the biographical sketches
and backstories provided
for each composer and
tune demonstrate how the
land itself, along with
personal experiences and
relationships, influence
the fiddle music of
northeast Ireland. $22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Book - Volume II - Second Edition CD-ROM Fake Book [CD-ROM] Hal Leonard
| | |
| The Real Book - Volume 2 Instruments en Do [Partition + Accès audio] Hal Leonard
Backing Tracks on USB Flash Drive. Composed by Various. Real Book Play-Along. ...(+)
Backing Tracks on USB
Flash
Drive. Composed by
Various.
Real Book Play-Along. USB
Flash Drive. 4 pages.
Published by Hal Leonard
$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tightrope Walker Merion Music
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion,
Piano, Piccolo, Timpani,
Trombone 1, Trombone 2
and more. SKU:
PR.446413400 High
Wire Act for
Orchestra. Composed
by Michael Boyman. Study
Score. With Standard
notation. Duration 8
minutes. Merion Music
#446-41340. Published by
Merion Music
(PR.446413400). UPC:
680160667406. 9 x 12
inches. Tightrope
Walker is my first piece
for full orchestra. Given
the large forces
available to me, I wanted
to write something
exciting, colorful and
visceral. I remembered
back to when I was a kid
going to see the Cirque
du Soleil. That trip made
a big impression on me,
especially the high wire
performers. These were
artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking one's
life to entertain an
audience has stayed with
me, and Tightrope Walker
is my attempt at
recreating that special
childhood experience. The
opening of the piece
hints at what's to come -
a steady, walking pulse
interrupted by missteps
in the woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes tense.
The primary themes of the
piece are presented in
fragments, most notably
the Tightrope Walker's
theme in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is restored.
We are now at the circus,
excited and expectant,
and the fragmentary
themes heard previously
are now presented in
their full forms. The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second half
of the piece depicts the
Tightrope Walker
performing for his
audience. But from the
outset, as in the
beginning of the piece,
we hear there are
problems. The pressure
mounts, the audience
clamoring for more, until
Tightrope Walker comes to
a decisive and
potentially fatal
end. Tightrope
Walker is my first
piece for full
orchestra. Given the
large forces available to
me, I wanted to write
something exciting,
colorful and
visceral. I
remembered back to when I
was a kid going to see
the Cirque du Soleil.Â
That trip made a big
impression on me,
especially the high wire
performers. These
were artists performing
super-human feats high in
the air, where even the
slightest mistake
guaranteed a fatal
ending. This idea of
danger, of risking
one’s life to
entertain an audience has
stayed with me,
and Tightrope
Walker is my attempt
at recreating that
special childhood
experience.The opening of
the piece hints at what's
to come - a steady,
walking pulse interrupted
by missteps in the
woodwinds. These
missteps increase until
the entire orchestra
comes crashing down - not
a good sign for our
Tightrope Walker. The
tempo slows and the
atmosphere becomes
tense. The primary
themes of the piece are
presented in fragments,
most notably the
Tightrope Walker's theme
in the horns. The
orchestra gradually
recovers from the
previous fall, becoming
more lively and coherent
until the original,
faster tempo is
restored.We are now at
the circus, excited and
expectant, and the
fragmentary themes heard
previously are now
presented in their full
forms. Â The
anticipation builds until
we hear a solo drum roll
- the main act is about
to begin. The second
half of the piece depicts
the Tightrope Walker
performing for his
audience. But from
the outset, as in the
beginning of the piece,
we hear there are
problems. The
pressure mounts, the
audience clamoring for
more, until Tightrope
Walker comes to a
decisive and potentially
fatal end. $43.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Book - Volume 2 Fake Book [Fake Book] Hal Leonard
Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x...(+)
Eb Instruments. By
Various. Fake Book
(Includes melody line and
chords). Size 9x11
inches. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rose, Shamrock, Thistle & Leek Guitare Boosey and Hawkes
Guitar Solo. By Bryan Lester, Roy Palmer. (Guitar). Boosey and Hawkes Chamber M...(+)
Guitar Solo. By Bryan
Lester, Roy Palmer.
(Guitar). Boosey and
Hawkes Chamber Music. 12
pages. Published by
Boosey & Hawkes.
$12.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Great Smoky Mountains [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Real Book - Volume 2 Bass Clef Instruments [Fake Book] Hal Leonard
Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size...(+)
Bass Clef Edition. By
Various. Fake Book
(Includes melody line and
chords). Size 9x11
inches. Published by Hal
Leonard.
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Voyage Au Pays Des Jouets [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music, Orchestra, Orchestra Symphonique Flute (2 parts) Bb Clarinet (2 p...(+)
Chamber Music, Orchestra,
Orchestra Symphonique
Flute (2 parts) Bb
Clarinet (2 parts) Alto
Saxophone (2 parts) Bb
Trumpet (2 parts)
Trombone (2 parts)
Timpani DA (1 part)
Violins 1 (6 parts)
Violins 2 (6 parts)
Violas (4 parts) Cellos
(3 parts) (flute (2
parts), Bb clarinet (2
parts), alto saxophone (2
parts), Bb trumpet (2
parts), trombone (2
parts), timpani DA (1
part), violins 1 (6
parts), violins 2 (6
parts), violas (4 parts),
cellos (3 parts)) - Grade
3 SKU: FL.FX071681
Composed by Arnaud Meier.
Original Composition.
Classical. Score and Set
of Parts. FLEX Editions
#FX071681. Published by
FLEX Editions
(FL.FX071681).
This piece is
divided into five
movements with a go with
its first encounters (at
the beginning) and a
farewell with the return
trip in the fifth part.
This trip, done by
children, allows them to
meet many types of toys:
dolls, robots and war
machines. - Arnaud MEIER
; Instruments: Flute (2
parts) Bb Clarinet (2
parts) Alto Saxophone (2
parts) Bb Trumpet (2
parts) Trombone (2 parts)
Timpani DA (1 part)
Violins 1 (6 parts)
Violins 2 (6 parts)
Violas (4 parts) Cellos
(3 parts); Difficuly
Level: Grade 3. $40.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Everglades (River of Grass) [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500101F
Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F). ISBN
9781491131725. UPC:
680160680252. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Riversong Suite Piano seul C. Alan Publications
Chamber Ensemble Solo Piano (solo piano) - medium SKU: CN.17440 Composed ...(+)
Chamber Ensemble Solo
Piano (solo piano) -
medium SKU:
CN.17440 Composed by
Jon Metzger. Arranged by
Michael Brand. Duration
4:30. Published by C.
Alan Publications
(CN.17440).
Riversong was
originally composed for
solo vibraphone and was
presented in lead sheet
format (for an
improvising musician's
use) and in a completely
written-out version.
Spelled here for piano,
the original flow and
lure of a river's pull is
augmented by two
additional vignettes -
Water Catcher and Terra
Firma - that depict both
an unexpected outing and
the satisfaction of a
completed trip.
Riversong was
originally composed for
solo vibraphone and was
presented in lead sheet
format (for an
improvising musician's
use) and in a completely
written-out version.
Spelled here for piano,
the original flow and
lure of a river's pull is
augmented by two
additional vignettes that
depict both an unexpected
outing and the
satisfaction of a
completed trip. Water
Catcher reminds us of
what may lie around the
next bend when storms
follow the river and
powerfully replace calm
with chaos. Terra Firma
confirms our respect and
desire for the journey -
natural repose and
quiescence in harmony
with anticipation of
revisiting the river's
song. $15.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rockschool Drums - Grade 6 (2012) Batterie [Partition + CD] Rock School Limited (RSL)
Drum Kit SKU: BT.MUSRSK051225 Method. Book with CD. Rockschool #MUSRSK051...(+)
Drum Kit SKU:
BT.MUSRSK051225
Method. Book with CD.
Rockschool #MUSRSK051225.
Published by Rockschool
(BT.MUSRSK051225).
ISBN 9781908920249.
English. Key Features at Grade
6
- Time signature
changes, Bass Drum
doubles, Polyrhythms, 6/8
Trip Hop Groove
- Single and double
strokes, paradiddles,
ratamacues, rolls,
Stylistic Studies
- Playback skills
Rockschool builds
upon its 21 years of
unrivalled experience in
rock and pop examination
by bringing you the
2012-2018 Syllabus. For
this latest Syllabus,
Rockschool have employed
some of the most sought
after professional
musicians to ensure that
their tunes are the most
authentic on
offer.
D
rums Syllabus
Features
- Plot your
stylistic specialism -
follow your preferred
style upthrough the
grades
- 6
Performance pieces, 6
varying styles
- Fact files - band and
artist background
information with
recommended further
listening
- Walkthroughs -
Hints and Tips on
the tricky sections of
the songs
- Standard
Notation
- Online
audio with full mixes
& backing tracks
(click &
non-click)
- Free
Choice Element - You can
select 2 free
choice pieces in your
exam
All
Rockschool grades are
fully accredited
throughout the UK by the
qualifications regulators
of England (OfQual) Wales
(DCELLS) Northern Ireland
(CCEA) AND Scotland (SQA
Accreditation).
Key Features at
Grade 6 Time signature
changes, Bass Drum
doubles, Polyrhythms, 6/8
Trip Hop Groove Single
and double strokes,
paradiddles, ratamacues,
rolls, Stylistic Studies
Playback skills
Rockschool builds
upon its 21 years of
unrivalled experience in
rock and pop examination
by bringing you the
2012-2018 Syllabus. For
this latest Syllabus,
Rockschool have employed
some of the most sought
after professional
musicians to ensure that
their tunes are the most
authentic on offer. Drums
Syllabus Features Plot
your stylistic specialism
- follow your preferred
style up through the
grades 6 Performance
pieces, 6 varying styles
Fact files - band and
artist background
informationwith
recommended further
listening Walkthroughs -
Hints and Tips on
the tricky sections of
the songs Standard
Notation CD with full
mixes & backing
tracks (click &
non-click) Free Choice
Element You can
select 2 free
choice pieces in your
exam All Rockschool
grades are fully
accredited throughout the
UK by the qualifications
regulators of England
(OfQual) Wales (DCELLS)
Northern Ireland (CCEA)
AND Scotland (SQA
Accreditation). $13.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Suite aus der "Wassermusik" Quatuor de Flûtes : 4 flûtes [Conducteur et Parties séparées] Music Distribution Services
4 flutes SKU: M7.KECF-129 Composed by George Frideric Handel. Arranged by...(+)
4 flutes SKU:
M7.KECF-129 Composed
by George Frideric
Handel. Arranged by
Sabine Gunther. This
edition: Saddle
stitching. Sheet music.
Score and parts. 36
pages. MDS (Music
Distribution Services)
#KECF 129. Published by
MDS (Music Distribution
Services) (M7.KECF-129).
ISBN 9790502361297.
German
English. George
Frederic Handel's world
famous Water Music was
actually first performed
on water: On the 22nd of
August 1715 a boat with
musicians accompanied the
sovereign King George I.
and his Royal household
on a boat trip down the
Thamses from Whitehall to
Limehouse. During the
return trip they played
for the very first time a
Suite from the Water
Music. Two more Musical
trips took place on 17th
and 19th of July 1717.
This Arrangement for four
flutes combines the most
famous movements into an
individual Suite.
Occasional
divisi-passages are
optional. $22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Gesang der Geister uber den Wassern D 714 [Op. post. 167] Breitkopf & Härtel
Chorus with inst. (choir: TTTTBBBB - str(without vl)) SKU: BR.CHB-5202-02 ...(+)
Chorus with inst. (choir:
TTTTBBBB - str(without
vl)) SKU:
BR.CHB-5202-02 Des
Menschen Seele (4.
Arrangement).
Composed by Franz
Schubert. Choir; stapled.
Chor-Bibliothek (Choral
Library). This work is
based on a poem by
Goethe, written on his
second trip to
Switzerland.
Romantic period. Choral
score. 20 pages. Duration
12'. Breitkopf and
Haertel #ChB 5202-02.
Published by Breitkopf
and Haertel
(BR.CHB-5202-02). ISBN
9790004411247. 7.5 x 10.5
inches. This work
is based on a poem by
Goethe, written on his
second trip to
Switzerland.Inspired by
the 300-meter-high
Staubbach Falls in
Lauterbrunnen Valley,
Goethe is here describing
the human soul and its
transience using the
water image. Schubert
repeatedly revised his
musical setting; so, from
an original piano lied
arose a piece for male
quartet (ChB 4865) -
initially a cappella,
then with piano -, and
finally today's
best-known version for
male octet, with low
strings. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Symphony No. 6 [Conducteur] Theodore Presser Co.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band SKU:
PR.16500104F Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F). ISBN
9781491132159. UPC:
680160681082. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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