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Vous avez sélectionné:
Americans West
Partitions à imprimer
3 partitions trouvées
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1
A Whitman Triptych: III. Facing West (Downloadable)
A Whitman Triptych: III. Facing West (Downloadable)
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David Conte
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A Whitman Triptych: III. Facin
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E. C. Schirmer Music Company - Digital
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SheetMusicPlus
Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secul...
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Soprano voice and tenor voice soli, SATB choir unaccompanied - Moderately Difficult - SKU: MQ.8323-E Composed by David Conte. Advanced/Collegiate. Secular, 21st Century, Americana, Children, Creation/Nature, Hope/Assurance. Instrument part. 9 pages. Duration 5 minutes, 42 seconds. E. C. Schirmer Music Company - Digital #8323-E. Published by E. C. Schirmer Music Company - Digital (MQ.8323-E). UPC: 600313483233. English. The three a cappella choral pieces that comprise “A Whitman Triptych†were composed between 2012 and 2014. O Setting Sun was commissioned by the Madison Chamber Choir, Madison, Wisconsin, Anthony Cao, conductor, and was premiered on April 20th, 2012. “What is the Grass†was composed for Cappella SF, Ragnar Bohlin, conductor, and is being premiered on tonight’s concert. Facing West was commissioned in celebration of the 75th anniversary of the Golden Gate Bridge by the International Orange Chorale, Zane Fiala, conductor, and was premiered on May 27th, 2012. I first set Whitman to music in 1986,when I adapted part of “When Lilacs Last in the Dooryard Bloomed†as the basis for my composition “Invocation and Dance.†I went on to set “Good-Bye, My Fancy†for Male Chorus and Soprano Saxophone in 1992, and “Song of the Open Road†for Mixed Chorus and Piano in 2004. Like so many composers, I have found the visionary quality of Whitman’s verse inspiring; the vigor and intensity of the poetry seem naturally to draw out music. Facing West is drawn from the Children of Adam book from Walt Whitman's Leaves of Grass. The full title of the poem is Facing West From California's Shores. Though Whitman never visited California, his biographer Justin Kaplan made the insightful observation that he imagined California's shores to be the starting point for a journey through time and culture. Here was Walt, 'a child, very old,' facing home again, looking over to it, joyous, as after long travel, growth, and sleep, asking: 'But where is what I started for, so long ago?/And why is it yet unfound?' The invitation from the International Orange Chorale to compose a piece in honor of the 75th anniversary of the Golden Gate Bridge led me easily and naturally to this great poem. The tone of Facing West is rich and complex, and draws on one of Whitman's favorite themes of using travel to distant lands as a metaphor for spiritual development. In his poem, Whitman strikes notes of reflection, of longing for adventure, and ultimately ends with a question. The continuing relevance of this question is for me beautifully addressed by the contemporary American writer Edmund White in his 1980 book States of Desire. To paraphrase somewhat, White writes: California is where dreams may come true, and the problem it presents is whether, after all, we wanted these particular dreams to be fulfilled - or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed? For Americans, California's coast is as far as one can go in establishing new roots and new ways of living. As a transplanted Midwesterner who has made California his home for nearly three decades, I experience the Golden Gate Bridge as a beautiful monument to the aspirations and dreams of a restless and inventive people, qualities that Whitman's poem captures perfectly. -David ConteDuration: 5:42
$2.65 ≈
£2.02
Waiting for the Robert E. Lee
Waiting for the Robert E. Lee
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Lewis F
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Waiting for the Robert E. Lee
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Johns Hopkins University Sheridan Libraries
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SheetMusicPlus
Piano and voice, ukulele - SKU: LV.12151 Composed by Lewis F. Muir. Celebrities, Portraits, Ballroom dancing, African Americans, Ethnic stereotypes, Ste...
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Piano and voice, ukulele - SKU: LV.12151 Composed by Lewis F. Muir. Celebrities, Portraits, Ballroom dancing, African Americans, Ethnic stereotypes, Steamboats, Homecomings. Lester S. Levy Collection. 5 pages. Published by Johns Hopkins University Sheridan Libraries (LV.12151). Waiting for the Robert E. Lee. Lyric by L. Wolfe Gilbert. Music by Lewis F. Muir. Published 1912 by Alfred Music Co., 145 West 45th Street in New York. Composition of strophic with chorus with piano and voice, ukulele instrumentation. Subject headings for this piece include Celebrities, Portraits, Ballroom dancing, African Americans, Ethnic stereotypes, Steamboats, Homecomings. First line reads Way down on the levee in old Alabamy, there's daddy and mammy, there's Ephriam and Sammy.. About The Lester S. Levy CollectionThe Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.
$5.99 ≈
£4.58
Adiós, Mamá Carlota for SAB Chorus, 2 Requintos, Guitar, and Bass
Adiós, Mamá Carlota for SAB Chorus, 2 Requintos, Guitar, and Bass
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Traditional Mexican
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Joel Jacklich (ASCAP)
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Adiós, Mamá Carl
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Joel Jacklich
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SheetMusicPlus
Small Ensemble Double Bass,Guitar,Voice - Level 3 - SKU: A0.726262 Composed by Traditional Mexican. Arranged by Joel Jacklich (ASCAP). Folk,Latin,World....
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Small Ensemble Double Bass,Guitar,Voice - Level 3 - SKU: A0.726262 Composed by Traditional Mexican. Arranged by Joel Jacklich (ASCAP). Folk,Latin,World. Score and parts. 6 pages. Joel Jacklich #6717923. Published by Joel Jacklich (A0.726262). Adiós, Mamá Carlota is a song from the Mexican Civil War, when the Mexican peasants rose up to fight against the Emperor Maximiliano. The Carlota referred to in the title and refrain, is the Empress Carlota, who fled to Europe seeking aid for her husband (without success). While she was in Europe, her husband was captured and executed. The words by Vicente Riva Palacios (1832-1896) are a parody on the song Adiós, Oh Patria MÃa by Ignacio RodrÃguez Galván. The accompaniment is scored for two requintos, guitar, and string bass. A requinto is a small (3/4 sized) melody guitar that is tuned a fourth higher than the normal guitar. If a requinto is not to be found, the parts can be played on regular guitars. This piece is often played during Cinco de Mayo (5th of May) celebrations. Cinco de Mayo is a holiday celebrating the Battle of Puebla in 1862, when the peasant army of Mexico defeated a superior force of the mercenary French Imperial troops of Maximiliano. The holiday is not often celebrated in Mexico, but is more often celebrated in the United States among Mexican-Americans in the Southwestern United States.
$8.99 ≈
£6.87
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Americans West
