SKU: SS.50021160

the wild geese fly across the long sky above. their image is reflected upon the chilly water below. the geese do not mean to cast their image upon the water; nor does the water mean to hold the image of the geese.
duration: 12 minutes.
copyright 1976. published by: seesaw music.

SKU: CF.CAS164F

ISBN 9781491165492. UPC: 680160924400. Key: D major.

Waterscape is a piece inspired by and intended to create images of lazy evenings on beautiful Lake Hartwell, located in the northwest Tri-County area of South Carolina (Oconee, Pckens, and Anderson Counties). The piece gives imagery of sunlight reflecting off the water as lake goers enjoy fishing, boating, water skiing, tubing, or simply dangling their feet off of a dock into the water. The piece should have a languid, easy feel, never rushed, but driving.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: XC.RSO2002

UPC: 812598034516. 9 x 12 inches.

Dancing Waters by Sean O’loughlin evokes beautiful imagery of flowing water in this film-score like new work for String Orchestra. Audiences will be captivated and your musicians will ask to play it again and again.

SKU: CF.SPS83F

ISBN 9781491156414. UPC: 680160914951. 9 x 12 inches.

This music was originally written for string orchestra. In this band version, the key has been changed to Bb major from A major. In my opinion, the music sounds gentler in Bb major. I like to see images that reflect on the water. In this piece you will find the same situation between the melodies in the different parts. Please look carefully at each part and try to find the reflections. Enjoy the dialogue of the phrases.  .
This music was originally written for string orchestra. In this band version, the key has been changed to Bb major from A major. In my opinion, the music sounds gentler in Bb major.I like to see images that reflect on the water. In this piece you will find the same situation between the melodies in the different parts. Please look carefully at each part and try to find the reflections. Enjoy the dialogue of the phrases. .

SKU: FG.55011-372-5

ISBN 9790550113725.

Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

SKU: OU.9780193544666

ISBN 9780193544666. 10 x 7 inches.

This well-known song by Vaughan Williams is arranged here for mixed voices, with additional lower voice parts by Alan Bullard. The pastoral imagery in the lyrics is beautifully brought to life by the trademark folk-inspired melodies, fluid harmonies, and a lively piano accompaniment.