Echo of the Spheres

Orchestral Accompaniment Score and Parts-Sunrise Mass is a spiritual extended work by Ola Gjeilo which uses the liturgical Latin text. Full Score and String Orchestra parts.The four movements bring us on a metaphysical journey from the heavens to earth from the echo of ?The Spheres? (Kyrie) to ?Identity & The Ground? (Sanctus) with its earthly themes. Neither expressly sacred nor secular this is an exquisite work for advanced high school level and beyond.Vocal Score: HL08501827

Par SPARKE PHILIP. Not Before Time (Il est grand temps) est l?une des deux pièces commandées par Koninklijke Fanfare Kempenbloei Achel (dirigée par Ivan Meylemans) dans le cadre de son programme pour le Concours « World Music Contest 2022», qui s?est tenu à Kerkrade, aux Pays-Bas. L?orchestre a gagné le premier prix de la division « Fanfare Concert Division ». Cousine d?une autre ?uvre du compositeur, Music of the Spheres (qui s?ouvre « before time » [avant l?heure] en t=0), cette pièce débute avec des gammes chaotiques et des groupes d?accords denses rappelant l??uvre précédente. Après un passage multi-métrique rythmique, un air « diabolique » en 7/8 apparaît dans les saxos avant d?être repris par l?orchestre entier. La texture se dissipe soudainement pour introduire une série de clusters par les bugles qui s?amplifie sous un ostinato rapide par les saxos. Des interruptions par les cuivres graves se transforment en nouveau matériel qui mène à un choral en mineur agrémenté d?ornements fleuris par les saxos. Les passages du début sont ensuite réintroduits jusqu?à la réapparition du choral par l?orchestre entier, le tout menant à une coda triomphale. Cette ?uvre peut être interprétée immédiatement avant sa partenaire, Elegy: Echoes of Lives Past (AMP 506-020), dont les éléments du choral sont identiques. / Date parution : 2023-06-01/ Répertoire / Fanfare Band

Sadie Harrison's Ha llristningsomra det for solo Double Bass.Composed and published 2016.Duration c. 10 minutesThe area of Tanumshede is situated on the south western coast of Sweden. Archaeologically it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting agricultural and livestock farming and warring with many armoured figurescarrying swords axes and shields. Whilst it is possible to interpret most carvings as images of quotidian life the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods often surrounded by abstract symbols - crosses dots and ‘cups’ the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons vehicles tools ships even hairstyles the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman apparently weeping over a dead warrior from a ship. Her grief ‘heavy as rocks’ is heard in the opening movement of the piece echoing through the remaining movements and giving the work its dark melancholy character. The Woman returns in the final movement as a ghost her footsteps coming closer and closer as her ‘lover’s’ ship is rebuilt over and over again. Movement III is gentler in tone a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps