| Rites for the Afterlife Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
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. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rites for the Afterlife [Conducteur] Theodore Presser Co.
Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxopho...(+)
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. $29.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| This present moment used to be the unimaginable future... Breitkopf & Härtel
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches. Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020. $53.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| This present moment used to be the unimaginable future... Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
$46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| George Frideric Handel - The Arrival of the Queen of Sheba Ensemble de cuivres [Conducteur et Parties séparées] - Avancé Hal Leonard
(from Solomon Brass Quintet The Canadian Brass Ensemble Series). By The Canadian...(+)
(from Solomon Brass
Quintet The Canadian
Brass Ensemble Series).
By The Canadian Brass. By
George Frideric Handel
(1685-1759). Arranged by
Howard Cable. Score and
Parts. Brass Ensemble.
Softcover. 28 pages.
Published by Hal Leonard
$25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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