SKU: HL.35005920
UPC: 888680089689. 8.5x11.0x0.014 inches.
SKU: GI.G-1118
A year ago, Westminster Williamson Voices joined a consortium called “The Scattered Light Consortium†along with Jo-Michael Scheibe at USC (the USC Thornton Chamber Singers) and Jamie Glasgow (The Glasgow School of Art Choir). I was attracted to the concept not only because of the composers who are dear friends, but because the pieces were set to poems by one of America’s greatest poets, Dana Gioia. When the two works arrived from composer Sarah Rimkus and Thomas LaVoy, I had, as they say, “the wind knocked out of me.†While both poems could be interpreted using a broader life perspective, they spoke to me and the choir in ways that were immediately deep and profound. Both poems provide light and hope to all of us who are living through this change at Westminster into something unknown. And then, shortly after this recording was completed, the pandemic struck and we were in isolation from our music-making family. We were thankful that we were able to complete this recording.  All of the music on the CD reflects our hope for the future as we climb a crooked ladder leading to, hopefully, a brighter new time for our beloved college, and our lives beyond the pandemic. Our desire is to see a glimmer of light behind what seems a very closed door. This CD offers music for personal reflection, with the hope that these sounds can provide for each of us “scattered†new light.  CONTENTS: In the Bleak Midwinter, Steve Pilkington • Kit Smart's Carol, Gerald Custer • Improvisation on Coventry Carol, Sam Scheibe, Christian Koller, Guillermo Passarin, Alex Tomlinson • Solitude, James Whitbourn • The Stars Now Rearrange Themselves, Thomas LaVoy • The Burning Ladder, Sarah Rimkus • Salvation to All That Will Is Nigh, Anthony Maglione • Brightest and Best, Sarah Rimkus • Coventry Carol, John Frederick Hudson • Magnificat, Peter Relph • Let All Mortal Flesh Keep Silent, Sam Scheibe.
SKU: HL.50600993
8.0x11.75x0.078 inches.
The ensemble work “Scattered Shades,†composed in 2014, of the Chinese composer Guoping Jia for the instrumentation flute, clarinet, violin, violoncello and piano was premiered on 21 May 2014 in Beijing at the 'Beijing Modern Music Festival,' performed by the ensemble 'Les Temps Modernes.' Although this work received its essential inspiration from ancient Chinese pen-and-ink painting, it also simultaneously documents the overcoming of a creative crisis. During an artistically difficult period, Jia assigned himself the task in 1997 to compose a study that was to supersede the compositional techniques used so far with the means of rational construction. “Scattered Shades†has recourse to this study, retracing its structure in a more profound way with a different ensemble.
SKU: HL.14043425
Score for Scatter Roses Over My Tears, a meditation on Jalalu-d-din Rumi by John Tavener for string quartet.
SKU: FJ.B1681S
English.
Moving between lush chorales and a quick, light-hearted theme, Scattered Light is a memorial work with secret codes embedded directly in the music to honor a student who was fascinated by the use of such codes. The contrast between expressive ensemble playing and light, jovial bursts of energy provides a full range of musical ideas.
About FJH Young Band
Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: HL.14043424
8.25x11.75x0.068 inches.
SKU: FJ.B1681
UPC: 241444370414. English.
SKU: CL.011-4741-01
Tornado Alley is a unique programmatic work for young bands that musically depicts a devastating tornado and its aftermath. The peaceful opening theme sets the stage at daybreak in a small Midwestern, town before the dreaded warning sirens, generated acoustically through creative techniques, send citizens scattering for shelter as the tornado sweeps through. Musical effects include whirly tubes, thunder tubes, trills and others. An exceptional music experience for the developing concert band!
SKU: SU.45001150
Piccolo, 2 flutes, oboe, 3 Bb clarinets, bass clarinet (low C), 4 saxophones (2 alto, tenor, baritone), 3 trumpets, 4 horns, 3 trombones, baritone, Tuba, timpani, 4 percussion Duration: 3' Set of Parts: available for sale (#45001151) Composed: 1999 Published by: Dead Elf Music.
SKU: HL.48024646
ISBN 9781784544041. UPC: 888680949105. 7.25x10.25x0.363 inches.
New edition, with preface by Gerard McBurney. The work was composed in 1933-38 for one of the greatest cellists of the 20th century, Gregor Piatigorsky. McBurney explains that, somehow this concerto had come to seem jinxed to the composer. And when, in 1947, he heard it in Moscow once again, this time played by the young Mstislav Rostropovich, he decided to recast it (albeit using much of the same material) as an entirely new piece, the Sinfonia Concertante, op 125. The earlier version never entirely disappeared, however, with a scattering of cellists always preferring it to the later one. And in recent years, it has found new favor and new champions, its spectacularly difficult cello writing and virtuosic orchestral effects offering a brilliance, pungency and fascination all of their own..
SKU: FT.FM391
ISBN 9790570482900.
A programmatic suite for three flutes from Liz Sharma – Germination, Growing, Pollination and Scattering Seed. Aimed at intermediate players, but attractive harmonies and melodies will appeal to all.
SKU: SU.45001151
2 flutes, piccolo, oboe, 3 Bb clarinets, bass clarinet (low C), 4 saxophones (2 alto, tenor, baritone), 3 trumpets, 4 horns, 3 trombones, baritone, Tuba, timpani, 4 percussion Duration: 3' Full Score: available for sale (#45001150) Composed: 1999 Published by: Dead Elf Music.
SKU: HP.1755
UPC: 763628117559.
As the title indicates, there are 13 new hymn texts based on Psalms, 12 as hymns and 24 as new spiritual songs. All are set to tunes ancient and modern, and all have been written since the publication of A Year of Grace (1990) and To Sing God's Praise (1992).
SKU: CL.011-4741-00
SKU: GI.G-10662
ISBN 9781622777150. English. Text Source: Text Editor: Barbara Day Miller.
THIS IS THE LEADER'S EDITION Conceived and created in the midst of the global Covid-19 pandemic which began in early 2020 and continues as this edition goes to press, the resource, Amen. Alleluia! A resource for praying farewell, grows out of reality and necessity. All individuals, families and institutions have been affected by the pandemic, including the church. Congregations responded in offering pastoral care in numerous ways when a gathering of people was not possible or permissible. It seems inevitable that some of these initiatives will now become a normative experience in the life of a congregation. These initiatives include the streaming or broadcast of services, increased ministry to those who cannot be present, providing resources for home prayer, adaptation of worship services in denomination resources, and relevant to this publication, the growing experience of delayed or postponed funerals. Amen. Alleluia! A resource for praying farewell offers clergy, pastoral ministers, congregations, families and individuals a collection of prayer services, Scripture passages, other texts, and music to mourn the death, and celebrate the life, of the deceased. While many of the services are framed in the structure of Western liturgical traditions, the collection is truly ecumenical. The material within may be used in conjunction with a congregation’s or denomination’s principal worship resource, or as an alternative to established liturgies. With adaptation, this resource can be used at interfaith memorials, as well as with those who have no affiliation in a faith tradition. CONTENTS: Graveside Funeral and Service of Committal, Graveside Funeral and Service of Committal for a Child, Graveside Committal Following a Funeral, Brief Service for the Scattering of Ashes, Prayer Service When a Funeral Is Delayed, Anniversary Visit to a Grave, Meditation for a Personal Visit to a Gravesite, Prayer and Meditation When Tending a Grave, Remembering and Naming the Saints of the Congregation, A Congregational Ritual of Loss and New Beginnings, Brief Service for the Death of a Beloved Animal, Other Liturgical Texts, Scripture Readings, Psalms, Poetry and Reflections, Hymns.
SKU: SU.50032780
From the opera The Heavenly Maiden Scattering Flowers.Copyright 1974. Published by: Seesaw Music.
SKU: GI.G-10662A
Text Source: Text Editor: Barbara Day Miller.
THIS IS THE PEOPLE'S EDITION Conceived and created in the midst of the global Covid-19 pandemic which began in early 2020 and continues as this edition goes to press, the resource, Amen. Alleluia! A resource for praying farewell, grows out of reality and necessity. All individuals, families and institutions have been affected by the pandemic, including the church. Congregations responded in offering pastoral care in numerous ways when a gathering of people was not possible or permissible. It seems inevitable that some of these initiatives will now become a normative experience in the life of a congregation. These initiatives include the streaming or broadcast of services, increased ministry to those who cannot be present, providing resources for home prayer, adaptation of worship services in denomination resources, and relevant to this publication, the growing experience of delayed or postponed funerals. Amen. Alleluia! A resource for praying farewell offers clergy, pastoral ministers, congregations, families and individuals a collection of prayer services, Scripture passages, other texts, and music to mourn the death, and celebrate the life, of the deceased. While many of the services are framed in the structure of Western liturgical traditions, the collection is truly ecumenical. The material within may be used in conjunction with a congregation’s or denomination’s principal worship resource, or as an alternative to established liturgies. With adaptation, this resource can be used at interfaith memorials, as well as with those who have no affiliation in a faith tradition. CONTENTS: Graveside Funeral and Service of Committal, Graveside Funeral and Service of Committal for a Child, Graveside Committal Following a Funeral, Brief Service for the Scattering of Ashes, Prayer Service When a Funeral Is Delayed, Anniversary Visit to a Grave, Meditation for a Personal Visit to a Gravesite, Prayer and Meditation When Tending a Grave, Remembering and Naming the Saints of the Congregation, A Congregational Ritual of Loss and New Beginnings, Brief Service for the Death of a Beloved Animal, Other Liturgical Texts, Scripture Readings, Psalms, Poetry and Reflections, Hymns.
SKU: PR.11642143L
UPC: 680160693320. 11 x 17 inches.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
SKU: CF.FE189S
ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler .Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium†, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.  It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song†for a “new brideâ€.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .
SKU: PR.11642143S
UPC: 680160693313. 11 x 17 inches.
