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The Poet's Pen for Tenor, Oboe and Piano
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The Poet's Pen for Tenor, Oboe and Piano
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1
The Poet's Pen for Tenor, Oboe and Piano
The Poet's Pen for Tenor, Oboe and Piano
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Judith Cloud
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The Poet's Pen for Tenor, Oboe
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Judith Cloud
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SheetMusicPlus
Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score an...
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Small Ensemble High Voice,Oboe,Piano Accompaniment - Level 5 - Digital Download SKU: A0.981218 Composed by Judith Cloud. Contemporary,Standards. Score and parts. 17 pages. Judith Cloud #6689693. Published by Judith Cloud (A0.981218). Composer’s Notes In my parents' library there was an assortment of very old books that I used to leaf through while home for holidays. One of these, The Ladies' Wreath, was of special interest. The inscription inside the front cover read To Miss Sophia Venable by her friend William M. Duphuy, April 25, 1850. Within the collection of romantic short stories and poems was The Poet's Pen from the Greek didactic poet Menecrates. Here was something very different from the overly sentimental offerings in most of the volume. I imagined the solitary lady reading this would feel most exhilarated and even empowered. Ideas for setting the poem came almost immediately, with the oboe as a key figure. Having experimented with a choral setting, I settled on tenor, oboe and piano and in 1989 the piece was completed. I revised The Poet’s Pen in 2016. The Poet's Pen I was a useless reed; no cluster hungMy brow with purple grapes; no blossom flungThe coronet of crimson on my stem;No apple blushed upon me, nor (the gemof flowers) the violet strewed the yellow heathAround my feet; nor jessamine's sweet wreathRobed me in silver: day and night I pinedOn the lone moor, and shivered in the wind.At length a poet found me. From my sideHe smoothed the pale and withered leaves, and dyedMy lips in Helicon. From that high hour,I spoke! my words were flame and living power!All the wide wonders of the earth were mine;Far as the surges roll, or sunbeams's shine;Deep as earth's bosom hides the emerald;High as the hills with thunder-clouds are palled;And there was sweetness round me, that the dewHad never wet so sweet on violets blue.To me the mighty scepter was a wand;The roar of nations pealed at my command.To me the dungeon, sword, and scourge were vain,I smote the smiter, and I broke the chain;Or, towering o'er them all, without a plumeI pierced the purple air, the tempest's gloom,Till blazed th'Olympian glories on my eye,Stars, temples, thrones and gods--infinity. Menecrates of Ephesus (330-270 BC)
$15.00 ≈
13.93€
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.29€
Nebraska - My Heartland (INSTRUMENTAL PARTS)
Nebraska - My Heartland (INSTRUMENTAL PARTS)
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Contemporary
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Large Ensemble Choir,Voice - Digital Download SKU: A0.799662 Composed by D. M. Gardner. Contemporary. Score and parts. 109 pages. D. M. Gardner Music #33...
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Large Ensemble Choir,Voice - Digital Download SKU: A0.799662 Composed by D. M. Gardner. Contemporary. Score and parts. 109 pages. D. M. Gardner Music #3370297. Published by D. M. Gardner Music (A0.799662). INSTRUMENTAL PARTS***SCORE and CHORAL SCORE SOLD SEPARATELY***Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine!INSTRUMENTATION1 Piccolo2 Flute 12 Flute 22 Flute 31 Oboe 11 Oboe 21 Bassoon 11 Bassoon 24 Bb Clarinet 14 Bb Clarinet 24 Bb Clarinet 32 Bb Bass Clarinet1 Eb Alto Saxophone 11 Eb Alto Saxophone 21 Bb Tenor Saxophone1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 42 Trombone 12 Trombone 22 Bass trombone3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSIONSuspended CymbalCrash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional),*Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$75.00 ≈
69.67€
Nebraska - My Heartland (CHORAL SCORE)
Nebraska - My Heartland (CHORAL SCORE)
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Contemporary
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Choral Choir (4-Part) - Level 4 - Digital Download SKU: A0.799663 Composed by D. M. Gardner. Contemporary. Octavo. 34 pages. D. M. Gardner Music #3370301...
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Choral Choir (4-Part) - Level 4 - Digital Download SKU: A0.799663 Composed by D. M. Gardner. Contemporary. Octavo. 34 pages. D. M. Gardner Music #3370301. Published by D. M. Gardner Music (A0.799663). CHORAL SCORE***FULL SCORE and INSTRUMENTAL PARTS SOLD SEPARATELY***Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine!INSTRUMENTATION1 Piccolo2 Flute 12 Flute 22 Flute 31 Oboe 11 Oboe 21 Bassoon 11 Bassoon 24 Bb Clarinet 14 Bb Clarinet 24 Bb Clarinet 32 Bb Bass Clarinet1 Eb Alto Saxophone 11 Eb Alto Saxophone 21 Bb Tenor Saxophone1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 42 Trombone 12 Trombone 22 Bass trombone3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSIONSuspended CymbalCrash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional),*Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$2.50 ≈
2.32€
Nebraska - My Heartland (FULL SCORE)
Nebraska - My Heartland (FULL SCORE)
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Contemporary
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Large Ensemble Choir,Voice - Level 4 - Digital Download SKU: A0.799660 Composed by D. M. Gardner. Contemporary. Score and parts. 40 pages. D. M. Gardner ...
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Large Ensemble Choir,Voice - Level 4 - Digital Download SKU: A0.799660 Composed by D. M. Gardner. Contemporary. Score and parts. 40 pages. D. M. Gardner Music #3370295. Published by D. M. Gardner Music (A0.799660). FULL SCORE***PARTS & CHORAL SCORE SOLD SEPARATELY*** Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine! INSTRUMENTATION 1 Piccolo 2 Flute 1 2 Flute 2 2 Flute 3 1 Oboe 1 1 Oboe 2 1 Bassoon 1 1 Bassoon 2 4 Bb Clarinet 1 4 Bb Clarinet 2 4 Bb Clarinet 3 2 Bb Bass Clarinet 1 Eb Alto Saxophone 1 1 Eb Alto Saxophone 2 1 Bb Tenor Saxophone 1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 4 2 Trombone 1 2 Trombone 2 2 Bass trombone 3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSION Suspended Cymbal Crash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional), *Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$200.00 ≈
185.79€
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
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Contemporary
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Carson Cooman
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Carson Cooman Enchanted Tracin
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Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 ...
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts. The score plus solo part are for sale as another item. Individual parts are also for sale.
$77.95 ≈
72.41€
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
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Contemporary
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Carson Cooman
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Carson Cooman: Enchanted Traci
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Musik Fabrik Music Publishing
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SheetMusicPlus
Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 ...
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Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part. The complete parts and seperate parts are available for sale on this site.
$29.95 ≈
27.82€
Rosemary - "That's for remembrance...."
Rosemary - "That's for remembrance...."
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Concert band
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INTERMEDIATE
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Classical
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Edward Elgar
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Joel Jacklich (A
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Rosemary - "That's for remembr
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Joel Jacklich
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SheetMusicPlus
Concert Band - Level 3 - Digital Download SKU: A0.1035592 Composed by Edward Elgar. Arranged by Joel Jacklich (A.S.C.A.P.). Romantic Period. Score and pa...
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Concert Band - Level 3 - Digital Download SKU: A0.1035592 Composed by Edward Elgar. Arranged by Joel Jacklich (A.S.C.A.P.). Romantic Period. Score and parts. 76 pages. Joel Jacklich #640816. Published by Joel Jacklich (A0.1035592). PROGRAM NOTE: Rosemary - That's for remembrance.... In 1882, Sir Edward Elgar jotted down in his musical notebook a piano piece he titled Douce Pensée (Sweet Thought). There it remained until 1913 when he got it out again, revised it slightly, re-titled it Rosemary - That's for remembrance, and published it for the first time. The title comes from Ophelia's Garland Speech in Shakespeare's Hamlet, where she says, There's rosemary, that's for remembrance. Pray you, love, remember. In 1915, the First World War had been raging in Europe for a year, and many British composers and poets had turned to artistic means to mourn those who died in the trenches of across the Channel. Elgar orchestrated the work at that time. In 1925, London publisher W. Paxton published arrangements by C. Jenkins made for brass and reed band and for military band; however, these are now out of print and no longer available. In the fall of 2015, Mitch Sturman, director of the Wilson Junior High School Warrior Band in El Centro, California, asked me to make an arrangement of Rosemary for the Eighth Annual Concert of Premieres, a series Sturman had begun in 2008, commissioning new works by known composers, and commissioning new arrangements of pieces he felt were worthy works in the public domain that were no longer in print and/or were written for ensembles containing instruments no longer part of the standard modern band or orchestra. INSTRUMENTATION: Flute I (4), Flute II (4), Oboe (1), Clarinet I (4), Clarinet II (4), Clarinet III (4), Bass Clarinet (1), Bassoon (1), Alto Saxophone (4), Tenor Saxophone (2), Baritone Saxophone (1); Trumpet I (3), Trumpet II (3), French Horn (2), Baritone Horn T.C. (2), Baritone Horn B.C. (2), Trombone (6), Tuba (2); Timpani [F2, B-flat 2] (1), Snare Drum (1),Triange (1), Suspended Cymbal (1), Bass Drum (1), Glockenspiel (1). Joel Jacklich May 21, 2015 El Centro, California.
$50.00 ≈
46.45€
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The Poet's Pen for Tenor, Oboe and Piano
