Matériel : Octavo
SKU: FJ.B1141S
English.
Perfect for the holiday season, Quietly Come and Whisper is a beautiful and sensitive setting of a famous holiday carol. Well within the range and rhythmic abilities of young bands, this piece offers beautiful lyrical lines and suspensions. A key change from E-flat to F leads to a soft conclusion. (2:30).
About FJH Young Band
Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: CF.YAS184F
ISBN 9781491151860. UPC: 680160909360. 9 x 12 inches.
Alan Lee Silva's Northwestern Skies?is lyrical and fresh,? with his signature open and expressive style. Young string orchestras will sound rich and full with this sweeping composition.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. More instrtuments are added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower strings carry the C theme in m. 49, supported by tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The moving legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in the violas and then the violins over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
From the opening fanfare to the final ensemble gesture, Northwestern Skies is an engaging musical journey with expressive ensemble phrases and challenging section features. The A theme at m. 9, a recurring heroic statement, provides an opportunity to develop solid tone production and intonation in sustained forte passages. The B theme at m. 17, enters quietly and features singing, legato lines and delicate accompaniment. The connected countermelodies in both the A and B sections should be balanced under the main melody. MoreA instrtuments areA added to the melody in m. 25, building to the return of the A theme in m. 33.
The lower stringsA carry the C theme in m. 49, supported byA tutti figures in the upper strings. All sections come together in m. 56 to a ritardando into the Maestoso section, setting up a grand ensemble statement in m. 57-58. The movingA legatolines at m. 59 and the aggressive figures at m. 61 propel the piece to its final build.
The Coda section at m. 65 begins with a variation of the B melody in theA violas and then the violinsA over a dominant pedal point in the lower strings. Commanding tutti statements of the A theme at m. 69 end the piece with power and excitement.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS184
ISBN 9781491151495. UPC: 680160908998. 9 x 12 inches. Key: G major.
SKU: CF.CAS111
ISBN 9781491151303. UPC: 680160908806. 9 x 12 inches. Key: G minor.
Composed by Matt Turner, Moonlight Odyssey for string orchestra is a hard-driving piece which takes the listener on an adventure full of rhythmic twists and turns as well as Middle Eastern-flavored melodies.The piece begins rubato with a quiet drone. The soloist should take time at the beginningdont hurry through the introduction. The tremolos in mm. 3 and 7 should shimmerplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precisebe careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginningadonat hurry through the introduction. The tremolos in mm. 3 and 7 should shimmeraplay very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and preciseabe careful not to rush! Cellists and bassists should arock outa and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginning--don't hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer--play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise--be careful not to rush! Cellists and bassists should rock out and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.The piece begins rubato with a quiet drone. The soloist should take time at the beginning—don†™t hurry through the introduction. The tremolos in mm. 3 and 7 should shimmer—play very quietly but intensely. Exaggerate and move quickly through the crescendo in mm. 12 and 16. The ostinato section beginning in m. 10 should be staccato (as marked) and precise—be careful not to rush! Cellists and bassists should “rock out†and emphasize the accented notes in mm. 50 and 51 to set up the next section. Exaggerate dynamics throughout.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS111F
ISBN 9781491151679. UPC: 680160909179. 9 x 12 inches.
SKU: CF.CAS3
ISBN 9780825844881. UPC: 798408044886. 8.5 X 11 inches. Key: D major.
A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playingA Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds. If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel. A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse. To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.A copse is a thicket of trees and bushes that may be found in a meadow or in open land. In England, a copse will often be found on a moor. A copse needs a source of water that is usually a stream, small river or pond. A copse has abundant plant and animal life because it provides the perfect habitat and shelter for moisture loving plants, insects, small mammals, rodents, reptiles, and birds.If you were walking through the copse in the midst of willow trees, bluebells and march marigolds, you would see beautiful butterflies, dragonflies and moths. You might see a frog or toad jumping on the banks of the pond and you would hear the call of numerous birds. Ornithologists often spend many hours watching and counting birds in and around a copse. Migrating birds such as geese and herons may also be spotted at certain times of the year. If you sit very quietly, you might catch sight of a red fox, a rabbit or squirrel.A copse is a happy place to spend an afternoon or to go for a walk. Perhaps you will get to visit a nature preserve near your home where you can observe the wonderful world of the woodland wild life that can be found in abundance in a copse.To assist you in learning some of the techniques that you need to be able to use when playing Willow-Wood Copse, you may wish to work on the studies that accompany the piece.
SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: CF.FE189S
ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler .Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium†, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.  It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song†for a “new brideâ€.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .
SKU: CF.FE189
ISBN 9780825877513. UPC: 798408077518. 9.5 x 13 inches.
SKU: PR.110418160
ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches.
Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead.I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead.
SKU: SU.80101164
This work is a brief prelude on the familar hymn tune. It begins quietly, builds to climax in the middle, and ends quietly. Suitable for prelude or offertory. 8 pages Published by: Zimbel Press.
SKU: PR.11641963L
UPC: 680160684489.
SKU: HL.14041950
8.25x11.75x0.06 inches.
Prayer of the Heart was inspired by The Chain of Hope. This charitable organisation raises money for the treatment of heart disorders in children, including Marfan's Syndrome, of which John Tavener is a sufferer. Thesinger should sit on a low stool, bowing towards the heart. This facilitates the soul's concentration, and its unification in ecstasy. The Prayer of the Heart is prayed ceaselessly day and night, awake or sleeping, becauseit has become at one with the beating of the heart... Silence, peace, sweetness of union with God... The Prayer is not usually sounded with the voice at all - it is silent. Therefore the music must be played and sungintensely, quietly, with no physical effort. The Byzantine bell and large Tibetan temple bowl may be played by the singer. Prayer of the Heart should be sung in subdued lighting, perhaps by candlelight. The recording of theheartbeat should sound very tenderly and quietly throughout.
SKU: PE.EP68779A
ISBN 9790300762463.
O Salutaris Hostia is one of Eriks Ešenvalds' most popular pieces. Originally written for female voices, the composer later created a version for full choir on which this arrangement is based. It has a gentle meditation with the two soloists drifting across the soft band accompaniment, alternately echoing and imitating each other or joining together in thirds. The effect is quietly ecstatic, a brief moment of adoration and wonderment. This arrangement can be played with either two cornets or two euphoniums as soloists as the accompaniment works just as effectively with either.
Orc hestration:
1 1st Bb Soloist, 1 2nd Bb Soloist, 1 Eb Soprano Cornet, 1 Bb Solo Cornet (marked tacet), 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 1 Bb Euphonium (marked tacet), 2 Eb Basses, 2 Bb Basses, Timpani, 1 Percussion (suspended cymbal)
SKU: PR.14440757S
ISBN 9781491136539. UPC: 680160689347.
Ellen Taaffe Zwilich’s Septet is the first major work written for this combination of instruments, and the pioneering process was greatly enjoyed by the composer: “While the instrumentation of the Septet provides an almost orchestral palette, and it was interesting to explore that, I love the idea of seven artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results from those shifting roles.†Septet was written for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet, to whom it is dedicated. String parts available on rental. For advanced ensembles. Duration: 24’.Writing music is a labor of love for me. My greatest joy is writing for performers whom I can be sure will not only deliver the notes accurately, but will project the meaning behind the notes. To have performers in the wings who will bring their own imagination and deep understanding to a performance is an inspiration to me. So I approached the writing of my Septet for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet with great anticipation and pleasure.The fact that there is no model for such a Septet made the pre-composition process a most enjoyable exploration. I liked the idea of having two strong ensemble personalities in the mix, and I thought that there must be some sort of challenging interchange at the outset. The first movement, “Introductions,â (note the plural) starts with the piano trio throwing down the gauntlet and the string quartet entering quietly, but gradually (almost one by one) joining with the trio to make a true septet with multi-faceted relations. The second movement, “Quasi una Passacaglia,†is based on a repeated phrase pattern. Part of the formal design is a contrast between “Baroque†style performance and modern, more romantic ways of playing. “Games,†the third movement, involves much playful interplay and the fourth movement, “Au revoir,†offers both reminiscence and farewell – not “good-bye,†but “until we meet again.â€Throughout the piece, two of my persistent fascinations are explored: firstly, my interest in designing initial material that can evolve into large-scale form, and secondly, the pleasure I take in chamber music. While the instrumentation of the Septet provides an almost orchestral palette and it was interesting to explore that, I love the idea of 7 artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results form those shifting roles.
SKU: FL.FX071919
The wind carries away the yellow leaves fallen on the pavement, the cafes put tables and chairs in... I evoke here a fall tour that is difficult to do quietly in Paris. How to take your time in this city with so many streets to cross (musical phrases of 3 measures), cars or buses to avoid (musical phrases starts on the second time). While the chestnut vendors are on subway entrances, how not to hurry like others (theme B) to 'catch' the subway...
