Langue : Français
/ Chant Et Piano
SKU: HL.14042891
6.5x9.75x0.055 inches.
The Twenty-Eight Times is a Vocal piece composed by British composer and conductor James Whitbourn . The Twenty-Eight Times was commissioned by the United Westminster Schools and Grey Coat Hospital Foundation to commemorate the fiftieth anniversary of the assassination of John F. Kennedy, and performed in Westminster Abbey on 25 October 2013 by the choir of Queen Anne's school, Caversham. This ancient Hebrew text from Ecclesiastes (Qoheleth) was a favourite of President Kennedy and formed partof the Eulogy delivered at his funeral service on 25 November 1963. He was assassinated on 22 November 1963.
SKU: PR.342402020
ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.
When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.
SKU: HL.350177
ISBN 9781705104095. UPC: 840126933147. 9.0x12.0x0.098 inches.
Commissione d by the Pennsbury High School Concert Choir, James D. Moyer, director in celebration of the tenth annual Big Sing concert in Princeton University Chapel, April 25 2018 and to mark the fiftieth anniversary of the assassination of Martin Luther King, April 4 1968 and his preaching in Princeton University Chapel in March 1960. Scored for mixed voices, soprano saxophone, percussion, piano and organ. Parts available: CH87604 Vocal Score available: CH87593.
SKU: PR.11641867S
UPC: 680160683208.
Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: HL.327310
ISBN 9781540081155. UPC: 888680989248. 9.5x12.0x0.708 inches.
Cecilia Valdes is a Cuban Zarzuela based on the novel by Cirilo Villaverde. It is a work of importance for its quality, and its revelation of the interaction of classes and races in Havana, Cuba. The story takes place in colonial Cuba around 1830. The young and beautiful woman of mixed-race, Cecilia Valdés, is the illegitimate daughter of powerful land magnate and slave trader, Cándido de Gamboa. Leonardo de Gamboa is his legitimate son. Leonardo falls in love with Cecilia, not realizing that she is his own half-sister, and they become lovers. At the same time, a poor black musician, José Dolores Pimienta, is also hopelessly in love with Cecilia. Cecilia rejects Pimenta's advances and conceives Leonardo's son. However, love between Leonardo and Cecilia does not last. He abandons her and becomes betrothed to a white upper class woman, Isabel Ilincheta. Cecilia turns to the faithful Pimienta to plan revenge. On the day of his wedding, Leonardo is assassinated on the steps of the cathedral by Pimienta who acts on the instigation of Cecilia. Pimienta is executed, and she is thrown in prison. This edition has been arranged by Evan Hause.
SKU: BP.1637
This previously unpublished work was written by John Ness Beck in 1963 in response to the assassination of President Kennedy. Written for double a cappella choir, Mr. Beck explores various choral timbres that range from reflective to majestic. His combination of verses from Isaiah, Job, Ecclesiastes and Jeremiah creates images that are particularly suitable for memorial events.
