PARTITIONS GRATUITES : VIOLON, ALTO ET HARPE
- Sea Piece

By John Fullam, clarinet; Buffalo Philharmonic Orchestra; The Amberg Chamber Ensemble. By Persis Parshall Vehar (1937-). For clarinet & ensemble. Mark Masters. Audio CD. Duration 73:26. Published by Mark Custom Music

12 Original Piano Pieces Inspired by the Sea. Composed by Pam Wedgwood. Piano Collection. Faber Edition. Book. Faber Music #12-0571541062. Published by Faber Music

Composed by Elizabeth Alexander. Collegiate Repertoire, Community Chorus, Concert Music, Church Choir-Anthem. Seasonal-Spring, Sacred-Seasonal-Thanksgiv ing, Choral, Worship and Praise. Octavo. With Text language: English. Duration 5 minutes. Published by Seafarer Press (SF.SEA-078-00).

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

Book B. 10 Piano Solos Inspired by Great Works of Art. Composed by Catherine Rollin. Graded Standard Repertoire; Piano Collection; Piano Supplemental. Museum Masterpieces. Book. Alfred Music #00-48635. Published by Alfred Music

Sea Nocturne. (Mid-Intermediate Level). By Glenda Austin. Willis. Difficult Class 2 piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. SMP Level 8 (Early Advanced); NFMC Level: Difficult Class 2. 8 pages. Willis Music #11065. Published by Willis Music

By Craig Courtney. For SATB choir, piano. Eastertide, General, Sacred Anthem. Octavo. Published by Crystal Sea Music Publishing