PARTITIONS GRATUITES : CHœUR SATB
- Mountains Upon Mountains

Orchestra Concert Band

SKU: PR.11642169L

Concerto for Orchestra. Composed by Zhou Long. Large Score. Duration 36 minutes. Theodore Presser Company #116-42169L. Published by Theodore Presser Company (PR.11642169L).

UPC: 680160692118.

Chine se mythology is a cultural heritage that has been passed down through the ages. It is full of bizarre andsupernatural artistic charm. Shan Hai Jing is like a history book, which contains many mythological stories depictingthousands of mountains and waters, geography and humanities, The Concerto for Orchestra Shan Hai Jing is using alarge scyle orchestra in multi-movements, inspired by the anceint supernatural aesthetics, and creates an imaginaryuniverse and human illusion with an abstract sound world. This work is not based on the story of the ancient gods, butbased on the geographical distribution of the Fivering Mountains, metaphorical waters, mountains range, folkcustoms, and rituals of the gods, depicting the north, west, east, south, and middle respectively in five movements. Thecharacteristics of the mountain system and the regional customs.The first movement, Beishan Jing (Largo) (page 1-30). In this movement, folk music elements such as the traditionalMongolian “Humai” and the traditional Tibetan “Bon’e’ri” are used to Ode the folk customs and heroism of the vastmountains and plains and different ethnic groups.The second movement, Xishan Jing (Allegro and Adagio) (page 31-52). The music of this movement has the westernstyle of Gansu and Qinghai Plateau.The third movement, Dongshan Jing (Adagio and Allegro) (page 53-86). The legend of great bells that ringspontaneously without being struck has origins in the ancient Classic of Mountains and Seas, in which we read:“Upon the Mountains of Plenty, Nine Bells ring with Knowledge of the Frost.”Tales of those blasts of wind that pulse like a heartbeat through caverns in the limestone cliffs, setting off a mysterioussympathetic ringing from bells encrusted in frost, led to “Frost-Bell” becoming a word during the Tang dynasty, almosta millennium after the Mountains and Seas classic first appeared.The fourth movement, Nanshan Jing (Adagio and Andante) (page 87-100) . The music is characterized by thewoodwinds and string harmonics texture depicting of the cloud mountain in the south of the Yangtze River, Fujian,Guangdong and Hunan.The fifth movement, Zhongshan Jing (Allegretto) (page 101-118) symbolizes the end of the ritual ceremony, which isroughly centered on the sacred place of Chu. The people danced together, waving flowers and hitting the bronze drums,just like sending the Divine Comedy, the scene is lively, the atmosphere is Solemn and lively.

Orchestra Concert Band

SKU: PR.11642169S

Concerto for Orchestra. Composed by Zhou Long. Study Score. Duration 36 minutes. Theodore Presser Company #116-42169S. Published by Theodore Presser Company (PR.11642169S).

UPC: 680160692101.

Chine se mythology is a cultural heritage that has been passed down through the ages. It is full of bizarre andsupernatural artistic charm. Shan Hai Jing is like a history book, which contains many mythological stories depictingthousands of mountains and waters, geography and humanities, The Concerto for Orchestra Shan Hai Jing is using alarge scyle orchestra in multi-movements, inspired by the anceint supernatural aesthetics, and creates an imaginaryuniverse and human illusion with an abstract sound world. This work is not based on the story of the ancient gods, butbased on the geographical distribution of the Fivering Mountains, metaphorical waters, mountains range, folkcustoms, and rituals of the gods, depicting the north, west, east, south, and middle respectively in five movements. Thecharacteristics of the mountain system and the regional customs.The first movement, Beishan Jing (Largo) (page 1-30). In this movement, folk music elements such as the traditionalMongolian “Humai” and the traditional Tibetan “Bon’e’ri” are used to Ode the folk customs and heroism of the vastmountains and plains and different ethnic groups.The second movement, Xishan Jing (Allegro and Adagio) (page 31-52). The music of this movement has the westernstyle of Gansu and Qinghai Plateau.The third movement, Dongshan Jing (Adagio and Allegro) (page 53-86). The legend of great bells that ringspontaneously without being struck has origins in the ancient Classic of Mountains and Seas, in which we read:“Upon the Mountains of Plenty, Nine Bells ring with Knowledge of the Frost.”Tales of those blasts of wind that pulse like a heartbeat through caverns in the limestone cliffs, setting off a mysterioussympathetic ringing from bells encrusted in frost, led to “Frost-Bell” becoming a word during the Tang dynasty, almosta millennium after the Mountains and Seas classic first appeared.The fourth movement, Nanshan Jing (Adagio and Andante) (page 87-100) . The music is characterized by thewoodwinds and string harmonics texture depicting of the cloud mountain in the south of the Yangtze River, Fujian,Guangdong and Hunan.The fifth movement, Zhongshan Jing (Allegretto) (page 101-118) symbolizes the end of the ritual ceremony, which isroughly centered on the sacred place of Chu. The people danced together, waving flowers and hitting the bronze drums,just like sending the Divine Comedy, the scene is lively, the atmosphere is Solemn and lively.

By Sir John Stainer. For SATB Choir, Organ. Romantic, Choral. Sheet Music. 4 pages. Published by Novello and Co Ltd.

(0.2.0.2/4.2.3.1,timp,str )

SKU: TM.03304SC

Composed by Felix Bartholdy Mendelssohn. Score. Lucks Music Library #A2901. Published by Lucks Music Library (TM.03304SC).

Transposed: Hn 3&4, Tpt 1&2, Tbn 1&2. Orig. Hn 1&2 in F. No. 36 = Go Return Upon Thy Way; Instr=0.2.0.2/4.2.3.1,tim p,str. No. 37 = For the Mountains Shall Depart; Instr=0.1.0.0/0.0.0.0,str .

(0.2.0.2/4.2.3.1,timp,str )

SKU: TM.03304SET

Composed by Felix Bartholdy Mendelssohn. Set Type: D. Set of parts. Lucks Music Library #A2901. Published by Lucks Music Library (TM.03304SET).

Transposed: Hn 3&4, Tpt 1&2, Tbn 1&2. Orig. Hn 1&2 in F. No. 36 = Go Return Upon Thy Way; Instr=0.2.0.2/4.2.3.1,tim p,str. No. 37 = For the Mountains Shall Depart; Instr=0.1.0.0/0.0.0.0,str .

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.