Format : Score and Parts
SKU: SU.90900230
Text: William Carlos Williams.
SATB a cappella (12-24 voices) Duration: 12' Poems by William Carlos Williams Movements: 1. The News from Poems; 2. The Red Wheelbarrow; 3. The Loving Dexterity; 4. Defiance to Cupid; 5. This is Just to Say; 6. Epilogue Composed: 2006 Published by: Notevole Music Publishing Perusal copies are available by contacting [email protected] (include the organization name with your request).
SKU: CL.012-4646-00
Defiance presents a musical representation of bold and daring resistance to authority, opposing forces, or differing beliefs. This high energy musical work immediately demands the attention of the listener and performer! Solid brass writing is balanced with excellent woodwind lines - each assertively stating the musical themes while being insistently pushed forward by relentless (and very fun to play) percussion. Your students will enjoy performing this very exciting, bold, and daring piece!
SKU: CL.012-4646-01
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: PR.44641342L
UPC: 680160667451. 11 x 14 inches.
Anger Management is a study in aggression and heartbreak. Its inspiration comes from a particularly nasty breakup and Tennysons maxim, Tis better to have loved and lost than never to have loved at all. The piece considers and ultimately rejects this notion. My goal was to combine the narrative of romantic loss - with its elements of anger, nostalgia, despair and ultimately defiance - with a strict compositional technique and economy of material. The piece is based on two motives: the gruff, ascending three notes of the first bar and a descending half-step sigh, which is eventually transformed and intensified into a glissando ascending major-7th. Anger Management was premiered and recorded on April 1st, 2013 by Derek Cooper and the Manhattan School of Music String Ensemble.
SKU: HL.48025445
ISBN 9783793145820. UPC: 196288216438.
Hans Winterberg's extraordinary life was written in two chapters, one Czech and one German, split right down the middle by the experience of the Shoah, which Winterberg, unlike his colleagues Ullmann, Krása, Haas and Klein, miraculously survived. In 1947, the Prague-born composer moved to Munich, where he worked for the Bavarian Broadcasting Corporation. As a student of Alexander Zemlinsky and Alois Hába, he belongs both to the Czech tradition following Janácek and to the circle of the Second Viennese School. He saw himself as a bridge builder between Western and Eastern culture. The circumstances under which Winterberg was able to compose during the war years are still unclear. Although his “mixed marriage” initially saved him from deportation, he had to perform forced labour and was eventually sent to the Terezin ghetto in January 1945. The Suite for Violin and Piano was composed in 1942, the year in which both Winterberg's mother and his piano professor Thérèse Wallerstein were murdered by the Nazis. Compared to the violin sonata from 1936, the Suite is much more condensed, lasting less than seven minutes. A melody dominated by chromatic turns and expressionist harmony lend the work its melancholy character, which gives way, however, to an almost irrepressible defiance in the rhythmically percussive last movement.
SKU: CL.013-0114-00
Note: This is a reprint from a vintage publication of 1895. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Due to the era of this work, saxophone and double-reed parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
SKU: BP.BP122
James Weldon Johnson.
Winner of Honorable Mention in the 2020 King's Singers New Music Prize, Marianne Forman's sparkling music sets James Weldon Johnson's text about singing through adversity: ...and if the way grows darker still, shadowed by Sorrow's somber wing, with glad defiance in my throat, I pierce the darkness with a note, and sing..., ...no nights are dark, no days are long, while in my heart there swells a song, and I can sing. Deeply encouraging, and suitable for a variety of performance situations, especially as choirs work through the events of 2020. Also available for SATB.
SKU: PR.446413420
UPC: 680160667444. 9 x 12 inches.
SKU: HL.50512037
ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.
The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.
SKU: CL.012-4646-75
SKU: HH.HH154-FSP
ISBN 9790708059080.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the common subject of a lover's jealousy. Clori falls in love with Fileno at first sight, but he proves unfaithful to her and a lovers' quarrel ensues. The music, by turns wistful and assertive, follows Clori's see sawing emotions, ending with a show of defiance. Albinoni's finely chiseled, undulating vocal line demonstrates his great gifts as a melodist.
SKU: PR.11441690S
UPC: 680160626021. 9 x 12 inches.
Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago. Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination. Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars. It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920sâ€, first shown at New York’s Metropolitan Museum of Art in 2006-07. Nussbaum would have been a bit too young to be included in this exhibit. His most noteworthy art was created in the last very few years of his short life. The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory†as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure musicâ€, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.   The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened†(das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary†life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace†is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â€If I must perish - do not let my paintings dieâ€; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory†is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .
SKU: PR.14040123S
UPC: 680160667192.
Anger Management is a study in aggression and heartbreak, rejecting Tennyson's maxim Tis better to have loved and lost than never to have loved at all. My goal was to combine the narrative of romantic loss - with its elements of anger, nostalgia, despair and ultimately defiance - with a strict compositional technique and economy of material. The piece is based on two motives: the gruff, ascending three notes of the first bar and a descending half-step sigh, which is eventually transformed and intensified into an ascending major seventh.
SKU: GI.G-CD-562
Fall on Your Knees is not simply the title of this re-released recording by Eric J. Sova, it is an entreaty challenging today's youth to walk a path of faith. The poignant lyrics of the songs, “His Life,†“Praise,†and “Nails That Pierced†strike at their stony hearts of youthful defiance, laying them open to the hope-filled love of Jesus Christ. Sova's rich baritone effortlessly transitions between the musical styles of this generation, resulting in a recording that truly speaks to the young people of this age.
SKU: BT.MUSM570365104
English.
George Nicholson 's ten minute 2013 piece Tronie , arranged for solo Piano. This solo Piano piece was written in 2013. It is a response to Rembrandt's astonishing portrait of his mother painted when he was in his early twenties and at a time when she would have been about sixty and therefore described as an 'old woman'. It may have been intended rather as a generic depiction of the ravages of old age a 'tronie' or genre painting but it strikes me as being a very moving and vividly characterised study of a real living individual, a penetratingly honest and unflinching portrayal at that. In Tronie I have attempted to make a musical statement about old age not only thefrailty, the loss of powers and the resignation, but also the pride and defiance of the old. The piece is dedicated to the memory of my mother-in-law, Andy Ginsborg, who died in February 2013. - George Nicholson.
