SKU: SU.YR2105.1
TTBB & piano 4-hands Composed: 1996 Published by: Yelton Rhodes Music Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: HL.4008780
UPC: 196288202936. 9.0x12.0x0.573 inches.
Representin g a musical journey through an enchanting and mysterious realm, Mystic Passage unfolds with a soft and evocative atmosphere of intrigue and anticipation. As the intensity gradually escalates, the listener encounters a series of twists and turns through this magical world. An engaging and creative work for 2nd year players. Dur: ca. 2:30.
SKU: KJ.SO383F
UPC: 8402704807.
Here comes Mystical Portal, the third of Jeremy Woolstenhulme's pieces in his highly popular Mystical series! In this new work, Woolstenhulme draws us into the twisting corridors and tunnels of a labyrinth. A bit of col legno, glissandos, dramatic dynamic contrasts, and more, makes this truly fun for all! E minor.
SKU: XC.HSO2205FS
12 x 9 inches.
An intriguing part of our living ecosystem, forests are filled with mysterious and mystical elements. Mystic Forest is a musical imagining of those themes.
SKU: XC.HSO2205
SKU: AP.98-RWS201301
Mystic Forest is a mysterious and exhilarating addition to your next concert. The audience is taken into a fictional world, where visions of blue and purples captivate the landscape. Sweeping harmonies and tender solo lines showcase the energy of the mystic forest, followed by a rapid chase represented by fast tempos and bombastic percussive sections. Engulf your audience with beautiful harmonies that send them into the Mystic Forest.
SKU: CL.RWS-2013-00
SKU: XC.RSO1901
UPC: 812598030594. 9 x 12 inches.
Commissione d by the Westport, CT Public Schools for the Bedford Middle School 8th Grade Orchestra of 2017-18, Mystic Lair is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. Full of many fundamental bowing techniques, Mystic Lair is sure to excite teachers, students and audiences alike!
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: XC.RSO1901FS
UPC: 812598031065. 9 x 12 inches.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
SKU: GI.G-CD-435
The harp and the flute are among the oldest instruments in the world. These two instruments have been depicted in paintings and sculptures from as early as the beginnings of the Cycladic civilization (2800-2300 BC) in what is now Turkey and Greece. Paired together, the harp and flute can produce an ethereal sound that calms, uplifts, soothes, and delights the listener. Their musicality has been captured by the great composers of the baroque and classical periods all the way to moderns like Shostakovitch and Corigliano. Mystic Vista is a collection of songs Robert Hutmacher has written over the past eight years for musicals, plays, and recitals, together with five short pieces from the French repertoire. He and Denise LaGiglia have performed together for years, and this recording brings their musicianship to a larger audience. The title, cover photo, and much of the music flows from Bob's life, research, and prayer in his second home-Assisi, Italy. In addition to that unique Umbrian flavor heard in his previous recordings, there are the usual Hutmacher surprises. Mystic Vista conveys a wide variety of holy, emotional, and artistic moments, sure to captivate the listener. Duets, solos, and even improvisations display talent and professionalism, the diversity of style will assure one is connected with the aural beauty of these timeless instruments.
SKU: CF.FAS130
ISBN 9781491162637. UPC: 680160921386. Key: E minor.
An adventurous concert experience for developing orchestras, Mystic Fire uses familiar notes on the D and G string, doubling Violin II with Viola, and Cello with Bass. Easy whole notes and staccato patterns reinforce techniques and rhythms learned in the classroom as students get to practice independent counting. Set in string-friendly E minor, the mysterious theme gives all sections the opportunity to shine.
