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4 sheet music found
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1
EP!C!!!
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Austin Wintory
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EP!C!!!
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Austin Wintory
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243....
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Full Orchestra - Level 4 - Digital Download SKU: A0.1031686 Composed by Austin Wintory. Contemporary. Score and parts. 39 pages. Austin Wintory #3512243. Published by Austin Wintory (A0.1031686). EP!C!!! is an overture-sized orchestral work, originally commissioned by the West Michigan Symphony in 2016. It is intended as a higher energy opener or Act 1 closer. Program notes:Entirely by mistake, EP!C!!! is study in conflict. The piece began with a simple premise: compose a work which teases some of the pervasive clichés of today’s musical landscape (particularly the Hollywood or so-called media music scenes). Those clichés are primarily two gestures: 1) a progression of chords, often called the Chords of Destiny (consisting of i – VI – III – VIII) and 2) an endlessly repeating minor third ostinato.The conflict emerged internally when, after multiple false starts, I would quickly start to hate the piece because it felt like the clichés were being presented whole cloth, without the slightest sense of irony. I became deeply paranoid that the music wasn’t in on its own joke. When I would reverse course, it felt condescending, as though it were declaring from some erudite ivory tower that it was above those gestures. The trouble particularly with the latter is that clichés become so for a reason; something genuinely compelling becomes so ubiquitous that it loses some of the freshness, but that doesn’t erase what initially made it compelling. So the piece needed to somehow make fun of the fact that these gestures are cliché, while not dismissing their intrinsic value. And indeed, to celebrate that value!It took a long time to find my place between those two extremes, and ultimately I think the music that emerged is actually the conflict itself manifest. The two gestures are this constant presence, almost like a seductive temptation, that are initially regarded as distractions, but eventually become the music’s core. It’s as though the music finally decided to just relent and find something to truly love and celebrate within these overwrought ideas, haters be damned.However, for the sake of total clarity of intention, I couldn’t resist some on-the-nose tongue-in-cheek. The little cameo of Haydn’s lulling 94th Symphony 2nd movement tune is my way of saying you think classical music is epic??? THEN LISTEN TO THIS SH*T!!! before inevitably popping open a Mountain Dew and snowboarding into an avalanche.- Austin Wintory, October 21, 2016
$40.00
Divinum Mysterium
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Orchestra
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INTERMEDIATE/ADVANCED
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12th Century Plainchant
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Robert Myers
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Oboe 1,2
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Divinum Mysterium
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporar...
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Full Orchestra - Level 4 - Digital Download SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) – Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. I’ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves don’t arrive in steady rhythms, these musical waves are variable – sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully – a child is born, and (3) contemplative – God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Don’t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiah’s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn – one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the ship’s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB
$75.00
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Conductor's Score
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Orchestra
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ADVANCED
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjam...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018872 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 38 pages. Benjamin Sajo #6056047. Published by Benjamin Sajo (A0.1018872). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph.  This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
Icarus Also Flew: A Pairing with Beethoven's Symphony #5 - Extracted Parts
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Orchestra
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ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Icarus Also Flew: A Pairing wi
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjam...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018900 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 79 pages. Benjamin Sajo #6056141. Published by Benjamin Sajo (A0.1018900). Programme Notes: Icarus Also Flew takes its title from the first line of the poem Failing and Flying by Jack Gilbert. He is referring to the classical myth of Daedalus and Icarus, an inventive father and son who bravely escape from their imprisonment in a tower by collecting the disposed feathers of seabirds, then fashion wings out of them and fly away. While the story is often treated as a morality tale--listen to your elders, don’t get cocky like the young man, Icarus, who, in such an understandable state of elation, ascended too close to the sun thus causing the wings to melt and his tumbling to his Mediterranean death--what Jack Gilbert reminds us is how regardless of one’s failure, the sheer transcendental experience of mortal flight remains glorious and unforgettable. Icarus’s fall was not into a legacy of disdain and oblivion, but in truth, he had come to the end of his triumph. This piece was the first of a series I composed during the Covid-19 quarantine conditions of 2020, to serve as potential contemporary preludes for each of Ludwig van Beethoven’s nine symphonies--his two hundred and fiftieth anniversary was this year!--though they can all stand on their own on any program. The connection, in this case, is with his celebrated fifth symphony in C minor--the Fate symphony, as it is commonly known. I’ll let the listener find their own connections.About the Composer:Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$50.00
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