PARTITIONS GRATUITES : UKULéLé (TAB)
- Kelly Weeks

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.”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.

Piano solo

SKU: HH.HH566-SOL

Composed by J.N. Hummel and Wolfgang Amadeus Mozart. Edited by Sarah Jenner. Playing score. Edition HH Music Publishers #HH566-SOL. Published by Edition HH Music Publishers (HH.HH566-SOL).

ISBN 9790708185819.

Moza rt’s final three symphonies were composed, according to Mozart’s autograph Verzeichnüß, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozart’s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummel’s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.

Piano solo

SKU: HH.HH531-SOL

Composed by J.N. Hummel and Wolfgang Amadeus Mozart. Edited by Sarah Jenner. Playing score. Edition HH Music Publishers #HH531-SOL. Published by Edition HH Music Publishers (HH.HH531-SOL).

ISBN 9781914137280.

Moza rtâ??s final three symphonies were composed, according to Mozartâ??s autograph VerzeichnüÃ?, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozartâ??s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummelâ??s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.