PARTITIONS GRATUITES : PIANO SEUL
- The Violence

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.114419980

Composed by Stacy Garrop. Sws. Set of Score and Parts. 32+16+16+16+16+16 pages. Duration 16 minutes. Theodore Presser Company #114-41998. Published by Theodore Presser Company (PR.114419980).

UPC: 680160681723. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.11441998S

Composed by Stacy Garrop. Sws. Full score. 32 pages. Duration 16 minutes. Theodore Presser Company #114-41998S. Published by Theodore Presser Company (PR.11441998S).

UPC: 680160681730. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

Opera, Lyrics Only

SKU: HL.14020975

Composed by Sir Peter Maxwell Davies. Music Sales America. Opera or Operetta. Book [Softcover]. Composed 1999. 24 pages. Chester Music #CH55304. Published by Chester Music (HL.14020975).

UPC: 884088860066. 8.75x8.25 inches.

Chamber opera in a prologue and one act. A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again. Libretto only. Duration c. 1h 25mins.

Choral (Studiotrax CD)

SKU: HL.35032570

Composed by Burt Bacharach and Rudy Perez. Arranged by Mark Hayes. Shawnee Press. Pop. CD. Published by Shawnee Press (HL.35032570).

ISBN 9781540041913. UPC: 888680901738. 5.0x5.0x0.15 inches.

Burt Bacharach and Rudy Perez wrote this anthem dedicated to the survivors, victims and families affected by school violence. It's powerful in both lyric and melody and will certainly move your singers, audience and community when performed. We can't live like this forever, gotta have a change of heart. We can live in peace together. Why is it always a fight? If we just respect each other, though we don't see eye to eye, if we do that, love will finally start..

French Horn (F Horn)

SKU: HL.267549

Horn Part. Composed by John Tavener. Music Sales America. Classical. Softcover. 16 pages. Chester Music #CH8322601. Published by Chester Music (HL.267549).

8.25x11.75x0.065 inches.

This work is based on the biblical story of the martyrdom of Saint Stephen, traditionally regarded as the first Christian martyr, asrecounted in the Acts of the Apostles. Stephen was a member of the early Church in Jerusalem. He was an inspired and charismatic preacher, but he aroused great hostility among the members of the various synagogues by his teachings, and he was accused of blasphemy. At his trial he looked up to heaven and declared that he saw God in his Glory, with Jesus standing at his right hand. This so enraged the authorities that he was flung from the city and stoned to death. As he died, he prayed that the Lord Jesus would receive his spirit, and that his killers would beforgiven. In this setting the choir recounts the story in Latin, whilst the solo horn music depicts the violence of the stoning. The work endswith a quotation from Chopin's Ballade No. 2 in F, Op. 38. Commissioned by the Metropolitan and Cathedral Chapter of St. Stephen's Cathedral, Vienna. First performed on 16th March 2015 at St Stephen's Cathedral, Vienna, by the Cathedral Choir conducted by Markus Landerer.