SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: HL.49046406
ISBN 9781540086945. UPC: 840126910674. 9.0x12.0x0.26 inches. Chinese - English.
Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a 'V'shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationship with silence: underneath the music is a profoundly deep silence upon which I seekto inscribe my signature through sound. It serves as a point of departure that led to a series of works.In Lakescape V, the tranquility in the original 'lake' series is disturbed by showers of 'phonetic particles' taken from Wai-lim Yip's poetry (in both English and Chinese) as the piece traverses through different states of mind.Lakescape V was written for and dedicated to loadbang who gave its world premiere at the Miller Theatre's Composer Portrait on November 17th, 2016.- Lei Liang.
SKU: HL.49045958
ISBN 9781540033307. UPC: 888680785789. 9.0x12.0x0.105 inches.
Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a 'V' shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationship with silence: underneath the music is a profoundly deep silence upon which I seek to inscribe my signature through sound. It serves as a point of departure that led to a series of works.- Lei Liang.
SKU: HL.49046164
ISBN 9781540049384. UPC: 888680927899. 9.0x12.0x0.472 inches.
SKU: HL.14011617
ISBN 9788759872031. Danish.
Per Norgard FOR A CHANGEThe title 'For a Change' refers to the Chinese 'Book of Changes' ('I Ching'), which has been consulted in situations of choice for millenia. In the I Ching, 64 states of being determine the full cycle of the phases of life. From these I selected four, the sequence of which progresses from a situation from which there is apparently no solution, to a (temporary) relief.In the first movement 'Thunder repeated, the Image of Shock', a vicious circle of claustrophobic, closed circuits is represented by the tom-tom part. This is followed by tam-tams and wood sounds, but returns full-circle to the tom-toms.The second movement 'The taming Power of the small' has its origins in the violence of the first movement, but this time lets it resolve in a long glide upwards which stars with voice sounds 'borrowed' from the Beatles' 'Revolution no 9' which are then transmitted to the other instruments.The third movement is 'The Gentle, The Penetrating' in which lyrical poetry dominates with gentle bell-like sounds and delicate tunes. Finally the sovereign, many-layered world of rhythm triumphs in the fourth movement: 'Towards Completion. Fire over Water', the main movement of the work.'For a Change' was premiered on 27.2. 1983 with the Sealand Symphony Orchestra conducted by Tamas Veto. Soloist was Gert Mortensen whom the work is dedicated.
SKU: BT.WH33005C
ISBN 9788759893753. English.
Outi Tarkiainen 's Saivo - Concerto for Soprano Saxophone, Effects and Orchestra (2016). The work was commissioned by Tapiola Sinfonietta and it is dedicated to the saxophonist Jukka Perko . Score: WH33005.
SKU: KN.18250
UPC: 822795182507. 9x12 inches.
SKU: HL.49046365
ISBN 9781540083852. UPC: 840126906257. 9.0x12.0x0.079 inches.
Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a V shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationshipwith silence: underneath the music is a profoundly deep silence upon which I seek to inscribe my signature through sound. It serves as a point of departure that led to a series of works.
SKU: PR.111402650
UPC: 680160643516. Text: Lorna Goodison. Lorna Goodison.
Angel of Dreamers is a song cycle for bass-baritone (or mezzo-soprano) singer, trombone, and either string orchestra, string quintet, or piano. It is based on the extraordinary poetry of the Jamaican-American poet, Lorna Goodison, whom I have had the great pleasure of getting to know in the course of writing this piece. The work was commissioned by a friend from my undergraduate college years at The Eastman School of Music, Maury Okun, trombonist and director of the Detroit Chamber Winds And Strings. The work was premiered in 2011 by bass-baritone Daniel Washington, trombonist and U. of Michigan faculty member David Jackson, and the string section of the Detroit Chamber Winds and Strings. Daniel and David gave the second performance of the work with Lorna Goodison and Maury Okun in attendance at The Juilliard School the following year. I was approached by Maury Okun and David Jackson to write this piece as a tribute to Maury's father who had recently passed away. They also introduced me to their colleague and friend Lorna Goodison, suggesting her poetry. Reading several volumes of her work, I was absolutely captivated by the vivid imagery and beautiful messages of her words. I chose five of the poems, forming a cycle about life and death and home and parents. Lorna is originally from Jamaica, and the rich, vivid imagery, language and story lines of her poems beautifully reflect her roots. The work, in the tradition of Brahms' songs for voice, viola, and piano, features a singer with an obligato lyric instrumental line, which, in my piece, is the trombone, an instrument that blends so beautifully with the sound of a bass singer. The first song, O Love You So Fear the Dark is hopeful and uplifting, describing enduring love throughout the twists and turns of our lives. The music is strong and declamatory, but also tender. The second song, God A Me actually portrays a fish in Jamaica which is almost amphibious, flying up out of the water onto the land, and somehow, magically, returning to the water! For me this poem depicts the enjoyment of seeing parts of life that are fun and enjoyable and almost magical! The third song, All Souls Day depicts a holiday, somewhat magical, but also full of life and energy. The final two songs are a tribute to our parents -- My Mother's Sea Chanty, recalling a dream of seeing one's mother, with lyrics of tender love and remembrance, and finally, This is my Father's Country which is a tribute to the life of a loving father, recalling his spirit, his love of the music Harry Belafonte, and his enduring spirit. Angel of Dreamers was a special piece for me to write: for and with friends, old and new, collaborating with a poet whose beautiful, meaningful, and touching words were so inspiring, performed by fantastic musicians who poured themselves into the music, and commissioned by a dear friend from years gone by. THIS is why we write and perform music!.
SKU: BT.DHP-1043758-140
Singapore Rhapsody is an exciting work in two movements based on popular Malaysian folksongs. The songs that occur in the first movement are Rasa Sayang eh (a love song), Gelang Sipaku Gelang (a song about community spirit), Suriram (a song about a girl proclaiming her virtues) and Di-Tanjung Katong (a love song that takes place at the Cape Katong on the southeast coast of Singapore). The second movement features Lenggang Kangkung, which literally means “The swaying of the watercress,†Katang Lompat (a moralistic song about the symbolism of the frog) and finally Kenek kenek-lah Udang (a wedding song). Each movement of this enchanting work can be performed separately but acomplete performance will be the crowning moment of any concert. Dit tweedelige werk is gebaseerd op populaire Maleisische volksliedjes. De liedjes uit het eerste deel zijn Rasa Sayang eh (een liefdesliedje), Gelang Sipaku Gelang (een liedje over gemeenschapszin), Suriram (overeen meisje dat haar eeuwige vriendschap aanbiedt) en Di-Tanjung Katong (een liefdeslied dat zich afspeelt aan de zuidoostkust van Singapore). Deel twee bestaat uit Lenggang Kangkung (letterlijk ‘het zwaaien vande waterkers’), Katang Lompat (over de symboliek van de kikker) en Kenek kenek-lah Udang (een bruiloftslied). De twee delen van Singapore Rhapsody kunnen prima los van elkaar worden uitgevoerd.Jacob de Haans Komposition besteht aus zwei Sätzen, die auf malaysischen Volksliedern basieren: zwei Liebeslieder, ein Lied über die Freundschaft, zwei Lieder über die Natur sowie ein Hochzeitslied. Die beiden Sätze von Singapore Rhapsody sind nicht untrennbar miteinander verbunden; sie können daher auch problemlos getrennt voneinander aufgeführt werden. Bringen Sie mit dieser Rhapsodie etwas Exotik in Ihr nächstes Konzert! Singapour, la cité du Lion, est l’un des plus importants carrefours d’Asie. Singapour mélange habilement les cultures chinoises, malaises, indiennes et occidentales. La musique traditionnelle est l’image de la multiethnicité de cette ville-état. Les deux mouvements de cette composition s’inspirent de chants traditionnels malais. Le premier mouvement développe quatre chants traditionnels de caractère contrastant et contrasté. Le second mouvement est basé sur les chants Lenggang Kangkung (qui dépeint le gracieux mouvement du cresson de rizière), Katang Lompat (une chanson moraliste qui évoque le symbolisme de la grenouille) et un chant de mariage. Les deux mouvements de cetterhapsodie ne sont pas intimement liés. Il est donc possible de les interpréter séparément. Singapore, la citt del leone, è uno dei più importanti crocevia dell’Asia. Singapore mischia abilmente le culture provenienti dalla Cina, dalla Malesia, dall’India a quelle occidentali. La musica tradizionale è l’immagine delle molte etnie di questa citt -stato. I due movimenti di questa composizione si ispirano a canti tradizionali della Malesia. Il primo movimento sviluppa quattro canti tradizionali di carattere contrastante e contrastato. Il secondo movimento è basato sui canti Lenggang Kangkung e Katang Lompat, che, come d’abitudine in oriente, descrivono animali e l’ambiente in cui vivono legandoli a simbolismi, e un canto tradizionale in occasione di matrimoni. I duemovimenti di questa rapsodia non sono legati tra loro, rendendo possibile eseguirli separatamente.
SKU: BT.DHP-1043758-020
9x12 inches. English-German-French-Dutch.
SKU: BT.DHP-1043758-120
SKU: BT.DHP-1043758-040
SKU: BT.DHP-1043758-010
SKU: MB.95552
ISBN 9780786605828. UPC: 796279026826. 8.75 x 11.75 inches.
Master guitarist Al Petteway ventures into new territory with 15 Celtic-inspired, traditional, and New Age fingerstyle compositions in standard and alternate tunings. Derived from Alâ??s award-winning solo recording of the same title, each piece bears the inimitable Petteway signature of profoundly graceful, inspired innovation. Written in standard notation and tab with several pieces in alternate tunings. Al began his professional music career at the age of 11. He played guitar, drums, and string bass with a variety of rock and folk acts in the Washington D.C. area during the 60â??s, becoming a local legend by the time he went to college to study music composition in 1970. In 1977, Al took a job with The National Geographic Society. His work as Supervisor of Picture Editing for the societyâ??s Image Collection, gave him the artistic freedom to develop his own acoustic guitar style. While long recognized as one of the countryâ??s foremost bluegrass and folk sidemen, Celtic music specialty label Maggieâ??s Music signed Al in 1993 and released Whispering Stones following by The Waters and the Wild-exposing his solo acoustic guitar work to an international audience for the first time. Al left the National Geographic to become a full-time musician in the spring of 1995, just before the release of Midsummer Moon.
SKU: PR.114419980
UPC: 680160681723. 9 x 12 inches.
The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.
SKU: PR.11441998S
UPC: 680160681730. 9 x 12 inches.
SKU: FG.55011-350-3
ISBN 9790550113503.
This piece takes its title from the eponymous poem by Edgar Allan Poe. Whittall had originally intended to keep his distance expressively from Poe's Gothic world, Poe's central image - a decaying city in the dimming West ruled by death, slowly sinking into watery oblivion - was a powerful one. Perhaps inevitably, the piece took on shades of the slow-motion humanitarian disaster unfolding on Europe's southern shores, bringing out undertones of desperation, pursuit, obsessive, elegiac reflection, and ultimately despair as it slides into the depths. The City in the Sea was commissioned by the Finnish Viola Society for the 2017 Tampere National Viola Competition.
