Theodore-Presser

SKU: PR.416412790

UPC: 680160490837. 9x12 inches.

SKU: PR.144400280

UPC: 680160024810.

SKU: PR.513014470

UPC: 680160209941.

SKU: PR.14440365S

UPC: 680160029488.

SKU: PR.446413260

UPC: 680160643332. 9 x 12 inches.

In January, 2005 at Stetson University, the TARAB Cello Ensemble performed a new music concert that was suberb and exhilarating. To the audience's dismay, the ensemble had no encore prepared (do any even exist?). I later found out that the group was comprised of recent Eastman School of Music graduates, many of whom I had conducted during the end of my academic tenure in Rochester. I was struck by the ensemble's determination to remain together to make music and, with their blessings, set out to rectify this omission in their repertoire. BEGUINE AGAIN is a Latin-American echo consisting of three choruses (the third becomes a little mixed up—as if the dancers momentarily part ways...) plus a Coda, and is roughtly four minutes in duration. The piece was stolen— and extended— from an excerpt of my 12-year-old PARLOR PIECES (1993); the score was completed in May of 2005 in Ormond-by-the-Sea, Florida.

SKU: PR.11640106L

UPC: 680160687794.

SKU: PR.144402150

UPC: 680160027088.

SKU: PR.44641229L

SKU: PR.144404550

UPC: 680160030859.

After finishing a serious woodwind quintet in the fall of 2001 [Tela Lacerata], I found, in the ensuing months, that its cinders/ashes were still impregnating my eardrums. Therefore, when I set out to write the present string piece, I realized that the musical veins of the quartet, like related cousins, were sharing the same blood as the earlier wind composition. The resultant Fifth Quartet evolved into two large, extended movements, each one containing seven parts that are played without pause. As the list of the various sub-sections clearly indicates, the formal structure of the movements appear to be identical: each with three main parts enveloped by interludes, plus an introduction and coda. However, the principal segments of the first (slow) movement gradually decrease in length, while those of the second (fast) movement increase. In addition, there is a goodly amount of sonic material stolen from the first movement which reappears -- stitched together in a new guise -- into the world of the second. for example, the bulk of Parts B and C of Movement II are lifted bodily, although elaborately modified, from their first appearances in the Introduction and Part A of the fist movement. This offers, I suppose at least a hint of a traditional recapitulation. As was true in the earlier woodwind piece -- both harmonically and melodically -- the embryonic growth of the musical fabric (primarily the tritone and perfect fifth) is omnipresent, almost obsessively, throughout the course of the whole work. These two intervals, not unlike plasticine, habitually transform themselves into the scales, chords, and melodic lines that pervade the texture of the quartet. Owing to the largely unrelieved dramatic flow, the shifting speed, and the often fervent intensity, the quartet places considerable demands on the dexterity, virtuosity, and stamina of the four performers. String Quartet No. 5 is approximately 22 minutes in duration and affectionately dedicated to my violinist wife Elizabeth, as a gift for our 47 years together. It was commissioned by the Corigliano String Quartet, New York, NY. -- Sydney Hodkinson.

SKU: PR.465000130

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

SKU: PR.416416440

UPC: 680160668663. 9 x 12 inches.