| A Little Violin Music in Memory of Elijah McClain Violon Merion Music
Chamber Music Violin SKU: PR.144407380 Composed by Ellen Taaffe Zwilich. ...(+)
Chamber Music Violin
SKU: PR.144407380
Composed by Ellen Taaffe
Zwilich. Performance
Score. 4 pages. Duration
4 minutes. Merion Music
#144-40738. Published by
Merion Music
(PR.144407380). ISBN
9781491133903. UPC:
680160683475. 9 x 12
inches. In her
powerful Foreword to the
music, violinist Kelly
Hall-Tompkins has
written: “There are
great works which give
voice to important
moments for generations,
and this is one of
them.†The tragedy
of Elijah
McClain’s murder
has moved us all, and for
many musicians the image
of this gentle young man
playing his violin for
kittens at an animal
shelter has added a
poignant extra layer.
Zwilich was a
professional violinist
before turning
exclusively to composing,
and A LITTLE VIOLIN MUSIC
is a memorial from the
heart of one violinist to
another. [THESE NOTES
MAY NOT BE REPRODUCED
OUTSIDE OF THE
PUBLICATION; OK TO QUOTE
A BIT AND GIVE AUTHOR
CREDIT]We often research
important pieces of music
to gain some glimpse into
the mind of the composer
by understanding the
times in which a piece
was written. The times
that brought this piece
into being, 2020, has
been a year like no other
in our lifetimes.With the
suffering of a once in a
century pandemic raging
in ever higher waves, and
millions of people around
the world confined to
their homes with a shared
attention span for the
first time in
generations, we watched
in horror the 8 minute 46
second killing of George
Floyd, a man previously
unknown to us, but now
unwillingly joining a
long list of names of
unarmed African Americans
killed by police. The
anguished backlash of
citizens around the
world, from Japan to New
Zealand to Germany to the
United States, of every
age, color, and creed,
has rallied for weeks and
months on end to demand
enough and that
“Black Lives
Matter.â€And yet, in
the midst of it all is an
America starkly divided
against itself with some
defiantly pushing back,
emboldened by
authoritarian-style
government actions
against its own citizens
occurring all over the
country. It is against
this backdrop that we
ever had a chance to know
of Elijah McClain. Here
in quarantine I sometimes
practice my scales in
front of the news. And
one day the mirror image
looking back at me from
the screen was a slight
young man, warm, affable
brown eyes, and also a
violin under his chin.
The newsreel-style camera
pan so familiar now, I
knew the only reason we
were gazing upon his
unfamous face was that he
too had been killed by
police nearly a year
before. But the
revelation of it in the
broadcast hit me
particularly hard.Ellen
Taaffe Zwilich, who is
not only one of the great
composers of our time, is
also a dear friend, and
called me the next day,
also deeply saddened by
the news. It was from
Ellen that I learned that
Elijah used to play for
the kittens at the local
animal shelter so they
wouldn’t be
lonely. This kind, gentle
soul was aggressively
taken into police custody
while saying, “I am
an introvert. Please
respect the boundaries
that I am speaking...
I’m going
home.†He was never
seen alive again.Ellen
and I spoke of the
sadness and the injustice
of this several times.
She felt a powerful
calling to contribute
something in a statement
and the result is the
piece you now hold in
your hands. I am deeply
honored to be the
dedicatee of the piece,
to have worked together
with Ellen on some of the
final details, and to pen
this score note. As an
invited alumna of the
Eastman School of Music,
I premiered the work for
their virtual event on
Diversity and Inclusion.
Each time I play it,
there is a persistent
lump in my throat because
Ellen has captured
something poignant and
powerful here.There are
great works which give
voice to important
moments for generations,
and this is one of them.
We humbly offer this
piece in memory of Elijah
McClain.Foreword ©
2021 by Kelly
Hall-Tompkins. Used by
permission. $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Glimpse of Us Chorale TTBB Hal Leonard
By Joji. Arranged by Mac Huff. Pop Choral Series. Ballad, Love, Male Voices, P...(+)
By Joji. Arranged by Mac
Huff.
Pop Choral Series.
Ballad,
Love, Male Voices, Pop.
Octavo. Duration 230
seconds.
Published by Hal Leonard
$2.30 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Glimpse of Us Chorale 2 parties TB Hal Leonard
By Joji. Arranged by Mac Huff. Pop Choral Series. Ballad, Love, Male Voices, P...(+)
By Joji. Arranged by Mac
Huff.
Pop Choral Series.
Ballad,
Love, Male Voices, Pop.
Octavo. Duration 230
seconds.
Published by Hal Leonard
$2.30 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Music of Leroy Osmon Volume IV Zeraim Seeds Mark Custom Music
By Tennessee Technological University Department of Music and Art Faculty. By Le...(+)
By Tennessee
Technological University
Department of Music and
Art Faculty. By Leroy
Osmon. Classical.
Performance CD
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Conducting Business Livre - Pas de partitions Biographie Amadeus Press
Unveiling the Mystery Behind the Maestro. Amadeus. Biography/Composers an...(+)
Unveiling the Mystery
Behind the Maestro.
Amadeus.
Biography/Composers and
Musicians, Classical
Reference. Hardcover. 312
pages. Published by
Amadeus Press
(HL.333460).
$33.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Debussy Piano Works - Volume 2 Piano seul [Partition] G. Henle
(Softcover). By Claude Debussy (1862-1918). For piano. Henle Music Folios. S...(+)
(Softcover). By Claude
Debussy
(1862-1918). For piano.
Henle
Music Folios. Softcover.
200
pages. G. Henle #HN1194.
Published by G. Henle
$79.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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