Light And Matter was jointly commissioned by the Library of Congress, Britten Sinfonia, Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International Music Festival. Composed in 2014 by Finnish composer Kaija Saariaho, the piece is for Violin, Cello and Piano.Saariaho states that her inspiration for this work came from looking out of her window in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the three instruments.The piece saw its world premiere at Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin, Nicholas Canellakis on Cello and Benjamin Hochman on Piano. / Violon, Violoncelle Et Piano
SKU: HL.113413
UPC: 884088868529. 6.75x10.5 inches.
Recorded by Barbra Streisand, this elegant and heartfelt song is almost classical in style, with a warm, acoustic accompaniment and a simple, direct lyric that celebrates the power of love in our lives.
SKU: HL.113414
UPC: 884088868543. 6.75x10.5 inches.
SKU: CF.CM9707
ISBN 9781491160121. UPC: 680160918720. Key: Db major. John Gillespie Magee. Poem by John Gillespie Magee, Jr.
Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes the long, delirious, burning blue and having touched the face of God. Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?.Just weeks after his nineteenth birthday, John Gillespie Magee, Jr. wrote the poem High Flight while serving in the Royal Canadian Air Force. The year was 1941, and World War II was culminating toward its darkest chapters. Magee had just completed his seventh flight in the iconic Spitfire Mk I fighter plane, soaring to heights well above 30,000 feet. These high altitude exercises supplied his inspiration for the poem, which describes “the long, delirious, burning blue†and having “touched the face of God.â€Tragically, Magee died in a training exercise just months after writing High Flight. His words, however, live on to lift our hearts and stir the imagination. After you have learned High Flight, ask yourself the following questions: Are you singing the text clearly and articulately? Are you properly stressing the important syllables and backing off of non-stressed syllables? Is there a sense of energy throughout the piece, in both the lyrical, flowing sections and the up-tempo, faster sections? Are you also singing with a sense of energy no matter what the dynamic marking? Are you singing phrases with proper breath support and a sense of rise and fall to the phrase?
SKU: OU.9780193859951
ISBN 9780193859951. 12 x 8 inches.
For narrator, children's choir, full orchestra, and Orff instruments. A setting of specially-written texts by children, the subject matter is the sun, the moon, and the stars. The songs are linked by spoken narration, resulting in a rich and vivid tapestry. Orchestral material is available on hire from the publisher.
SKU: PR.114414290
UPC: 680160594030.
Writt en for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/20 09/03/18/arts/music/18con c.html?_r=1&adxnnl=1&part ner=rssnyt&emc=rss&adxnnl x=1286200920-wRrt7MJ416+F pOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soulâ€, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.
SKU: BT.RSK200077
ISBN 9781789360134. English.
Learn to play rock and pop with Rockschool. These Specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. Rockschool Classics Drums Grade 3 contains eight of the biggestrock tracks from the past five decades arranged for you to play in your Grade 3 exam. You can choose two pieces from Rockschool Classics to play in your Grade Exam or three to play in your Performance Certificate.
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SKU: BT.AMP-339-140
9x12 inches. English-German-French-Dut ch.
Moving Heaven and Earth was commissioned by the Clark County School District Commissioning Project, Las Vegas, NV, USA and is dedicated to Bunny Wasserman and her Make Music Matter, Las Vegas foundation, in appreciation of her tireless work in support of music education. It was premiered in January 2012, conducted by Col. John R. Bourgeois.The piece consists of a theme and 4 variations; although the theme is original it contains a phrase heavily influenced by a 14-bar passage from the Libera Me in Fauré’s Requiem. It is a sequence that the composer finds harmonically compelling and, although it is never quoted directly, it appears in altered form in thetheme and each of the variations. In the original, the passage is set to the words: Quando cæli movendi sunt et terra (When the heavens and the earth shall be moved) which gave inspiration for the title.After the initial statement of the theme, Variation 1 features the upper woodwinds who play a stirring melody and accompany the Fauré reference with florid arpeggios. Variation 2 spotlights the saxophones and lower woodwind in a rhythmic, modal waltz, whilst Variation 3 is a broad chorale for the brass and percussion. Variation 4 starts with a fugue, which introduces each section of the band in turn before the original theme appears on the brass while the woodwind continue the fugal figuration. Moving Heaven and Earth is geschreven in opdracht van het Clark County School District Commissioning Project, Las Vegas, NV, USA. Het is opgedragen aan Bunny Wasserman en haar stichting Make Music Matter… Las Vegas, als blijk van waardering voor haar onvermoeibare inzet voor het muziekonderwijs. De première, uitgevoerd onder leiding van kolonel John R. Bourgeois, vond plaats in januari 2012.Het werk bestaat uit een thema en vier variaties; hoewel het een oorspronkelijk geschreven thema is, bevat het een frase die sterk is be nvloed door een passage van veertien maten uit het Libera Me van Faurés Requiem. Het gaat om een sequens die de componist harmonischzeer boeiend vindt, en die - hoewel nooit direct geciteerd - in aangepaste vorm in zowel het thema als de vier variaties naar voren komt. In het origineel is de muziek uit deze passage geschreven op de tekst Quando cæli movendi sunt et terra (Wanneer hemel en aarde bewogen worden). Daarop is de titel van deze compositie gebaseerd.Na de aanvankelijke invoering van het thema komt in Variatie 1 het hoge hout aan bod met een treffende melodie; en de verwijzing naar Fauré wordt begeleid door sierlijke arpeggio’s. Variatie 2 plaatst de saxofoons en het lage hout in de schijnwerpers met een ritmische, modale wals, terwijl Variatie 3 een weidse koraal voor het koper en slagwerk omvat.Variatie 4 begint met een fuga die elke sectie van het orkest introduceert, waarna het oorspronkelijke thema in het koper verschijnt terwijl het hout verdergaat met de fugatische versieringen. Moving Heaven and Earth wurde vom Schulbezirksverband in Las Vegas, Nevada (USA) in Auftrag gegeben. Das Stück ist Bunny Wasserman und ihrer Stiftung Make Music Matter, Las Vegas gewidmet, in Anerkennung ihrer unermüdlichen Anstrengungen zugunsten der musikalischen Ausbildung. Die Uraufführung fand im Januar 2012 unter Leitung von Colonel John R. Bourgeois statt.Das Stück besteht aus einem Thema und vier Variationen. Obwohl es sich um ein originales Thema handelt, ist doch ein Abschnitt daraus stark von einer 14-taktigen Passage aus dem Libera Me in Faurés Requiem beeinflusst. Es ist eine Sequenz, die dem Komponisten harmonisch besonders reizvoll erschien, wennsie auch nirgends direkt zitiert wird, sondern in veränderter Form im Thema und in jeder Variation erscheint. Im Original ist diese Passage mit folgendem Text unterlegt: Quando cæli movendi sunt et terra (Wenn Himmel und Erde sich bewegen sollen). Diese Worte waren Inspiration für den Titel.Nach der einleitenden Vorstellung des Themas stellt Variation 1 die hohen Holzbläser in den Vordergrund, die eine bewegende Melodie spielen und die Anspielung auf Fauré mit schönen, lebhaften Arpeggien begleiten. Variation 2 richtet das Rampenlicht auf die Saxophone und die tiefen Holzbläser in einem rhythmischen, modalen Walzer, während Variation 3 ein breiter Choral für die Blechbläser und das Schlagzeug ist. Variation 4 beginnt mit einer Fuge, die nacheinander jedes Register des Blasorchesters präsentiert, bevor die Blechbläser das Originalthema spielen und die Holzbläser dazu mit der Umspielung der Fuge fortfahren. Moving Heaven and Earth (Ébranler le ciel et la terre) est une oeuvre de commande du Clark County School District Commissioning Project de Las Vegas, États-Unis. Cette pièce est dédiée Bunny Wasserman et sa fondation Make Music Matter, Las Vegas, en reconnaissance de son travail sans rel che en faveur de l’éducation musicale. Elle a été créée en janvier 2012, sous la direction du colonel John R. Bourgeois.Cette oeuvre se compose d’un thème et de quatre variations ; bien que le thème soit original, il contient néanmoins un motif relativement influencé par un passage de 14 mesures du Libera Me du Requiem de Fauré. Cette séquence, dont l’harmonisation fascinePhilip Sparke, paraît sous une forme altérée dans le thème et chacune des variations. Dans l’oeuvre de Fauré, le thème mélodique colore les paroles : Quando cæli movendi sunt et terra (Quand le ciel et la terre seront ébranlés), qui ont d’ailleurs inspiré le titre de la présente composition.Après une exposition initiale du thème, la 1re variation fait appel au registre aigu des bois, qui énoncent une exaltante mélodie et enluminent l’allusion Fauré par des arpèges fleuris. La 2e variation met en valeur les saxophones et le registre grave des bois dans une valse modale rythmée, tandis que la 3e variation prend la forme d’un ample choral pour les cuivres et la percussion.La 4e variation installe une fugue qui présente, tour tour, chaque pupitre de l’orchestre avant le retour du thème d’origine interprété par les cuivres, tandis que les bois maintiennent brillement le motif de fugue.
