PARTITIONS GRATUITES :
- I Could Write a Book: Score

By New York Voices. Composed by Rodgers and Hart. For Jazz Ensemble. Jazz Vocal Series. Level: 4 (Medium Advanced / Difficult). Score. 32 pages. Published by Alfred Publishing.

By Lorenz Hart, Music By Richard Rodgers. Arranged by Darmon Meader. For Jazz Ensemble. Jazz Ensemble. Jazz Vocal Series. Swing. Level: 4 (Medium Advanced / Difficult) (grade 4). Conductor Score and Parts. 90 pages. Published by Alfred Publishing.

By Richard Rodgers, Lorenz Hart. Vocal Score. Size 9x12 inches. 184 pages. Published by Hal Leonard.

Choir Secular Countertenor Solo - Children's Chorus - SATB choir- 2 piano - percussion

SKU: PE.EP72698A

Cantata for Solo Countertenor, Children's Chorus, Adult Mixed Chorus, Two Pianos and Percussion. Composed by Jonathan Dove. Choral Works (inc. Oratorios). Edition Peters. Book. 92 pages. Duration 00:25:00. Edition Peters #98-EP72698A. Published by Edition Peters (PE.EP72698A).

ISBN 9790577010519. 210 x 297mm inches. English.

Commiss ioned by Making Music with funds from the Nicholas Berwin Charitable Foundation

First performance: 12th March 2016, Waltham Singers, conducted by Andrew Fardell, King Edward's Grammar School, Chelmsford.

Mus ic runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the Greed of the sailors who are supposed to be bringing him back to Corinth, and they threaten to kill him.  They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At The End of his song, he jumps overboard, and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.  

The idea of being rescued by a music-loving dolphin is very appealing.  In Robert Graves’ account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after his rescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra.

It seems natural to sing a story that has singing at its heart.  When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create an atmosphere of mystery for the arrival of the dolphins, represented by children’s voices.  There would be one solo voice: Arion, the marvellous singer.  Andrew Fardell, the conductor who was advisor to this commission, had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor.  I thought the magical, otherworldly quality of this voice would help to convey the extraordinary effect Arion’s singing had on all who heard it. 

- Jonathan Dove

By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017A. Published by Musik Fabrik

Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, tenor voice

SKU: CF.CM9743IN

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Set of Score and Parts. 44+32+2 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743IN. Published by Carl Fischer Music (CF.CM9743IN).

ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the seven  stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!