Voir toutes les partitions de Jay Rouse
SKU: LO.30-3763MD
UPC: 000308156263.
Orche stral Score and CD with Printable Parts for 10/5418MD This emotive ballad by Jay Rouse reflects on the pivotal moment that Jesus was abandoned by God the Father and was left alone to die--sacrificing His life and taking on the sin of the world. The dynamic lyrics then rejoice in the Resurrection with a euphoric and victorious ending.
SKU: LO.99-4120MD
UPC: 000308156270.
Perfo rmance/accompaniment CD plus Split-track for 10/5418MD This emotive ballad by Jay Rouse reflects on the pivotal moment that Jesus was abandoned by God the Father and was left alone to die--sacrificing His life and taking on the sin of the world. The dynamic lyrics then rejoice in the Resurrection with a euphoric and victorious ending.
SKU: LO.30-3560L
UPC: 000308149524.
Bring the Passion Story and its impact to life through moving music and Pamela Stewart’s compelling narrative: from the euphoria surrounding Christ’s triumphal entry into Jerusalem to the desolation of the lonely Garden as He fully embraced God’s plan and ensuing death; from the genuine love conveyed to His faithful followers in the Upper Room to the loneliness experienced in His final hours as those same followers rejected and abandoned Him; from the anger that filled the hearts of those who now called for His crucifixion to the tender resignation of a Roman soldier that this indeed was the Son of God; from utter despair as He died on a cross to triumphant joy as Christ’s followers began to realize that His prophetic words had become reality. All of this and so much more happened within a single week! Combining the compositional talents of Lloyd Larson, Faye López, R. Kevin Boesiger, Larry Shackley, Molly Ijames, Mark Hayes, and Pepper Choplin, this inspiring cantata provides an unforgettable worship experience. It can be used in segments for use throughout Lent or Holy Week or performed in its entirety. With options for choir and piano alone or the addition of either a live orchestra or the accompaniment tracks (available separately), Hallelujah! What a Savior! is a powerful resource for choirs large or small.
SKU: FG.55011-510-1
ISBN 9790550115101.
Matt hew Whittall's preface to Bright Ferment (2019): I have a complicated history with the string quartet. Actually, it's not that complicated. I spent months writing a huge one in my early twenties and hastily withdrew it after a long delayed premiere, vowing never to write another. In a typical case of karmic retribution, my fear of the form would eventually be overcome by the unrefusable offer to write the compulsory piece for the Banff International String Quartet Competition in my native Canada. The short duration requested, about nine minutes, also felt like a good way to wade gingerly back into the medium. The title was originally just a nice-sounding pair of words that surfaced in a brainstorming session with fellow composer Alex Freeman over an injudicious amount of fermented barley. When I looked it up later, I found that it was a phrase of older coinage, seemingly used more for poetic resonance than any fixed meaning. Ferment by itself denotes a state of confusion, change or lack of order. With bright, it takes on a more positive connotation with regard to society and creativity: a wild profusion of ideas barely checked by reason. (It may not actually mean that, but it describes this piece nicely, so let's go with it.) Fermentation in its trendy culinary usage is also hinted at via a recurrent percolating device of scattered pizzicati. As one may guess from the tone of this introduction, there is little attempt at gravity in Bright Ferment, the only means by which I felt I could sidestep the historical and expressive weight of the string quartet genre. Styles, gestures and moods are tossed around, cross-cut and abandoned in stream-of-consciousness fashion, connected by little except an intuitive sense of rightness in their juxtaposition. If the piece acquires depth in spite of me, it will only be because its disparate parts amplify and strengthen each other simply by being together - much like the ensemble itself. Bright Ferment was commissioned by the Banff Centre for the Arts and Creativity and the Canadian Broadcasting Corporation, with additional funding from the Americas Society (New York), for the 2019 Banff International String Quartet Competition. Duration: ca. 9 minutes.
SKU: LO.30-3561L
UPC: 000308149531.
SKU: LO.30-3562L
UPC: 000308149548.
SKU: PA.H07957
ISBN 9790260104464. 31 x 23.5 cm inches.
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
