Format : Score and Parts
SKU: SU.32040030
Bass Trombone & Piano Duration: 15' Composed: 2015 Published by: Amy Mills Music, LLC Dedicated to the Men and Women of the US Armed Forces and their Families. Catharsis was commissioned by Brian Hecht, bass trombonist with the Atlanta Symphony Orchestra. It explores his feelings about a friend who was killed while serving in the armed forces. It is powerfully moving and truly cathartic for performers and listeners who have experienced loss. Catharsis is more than just a piece of music. For me, it’s a way to connect with my inner self and release deep, strong feelings through the expression of this music. I feel that this piece could be a similarly cathartic experience for any performer in all walks of life. Brian Hecht, Bass Trombone, Atlanta Symphony Movement I: Playful Happy memories of childhood fun, playing super-heroes, climbing and falling out of trees. Movement II: Tragic The tragedy is announced, then the anger, frustration, denial, then gradual acceptance and coming to peace. Movement III: Renewal The final movement recognizes heroism, and encourages all who have experienced tragic loss to Never Forget as they Go Forth info the future, changed, but with renewed conviction and hope. Difficulty Level:Trombone 6 (Professional) Piano 5 (Advanced) See composer website for audio sample.
SKU: SU.32040035
Full size conductor's score (11x14)solo btbn; 2222; 4331; timp, perc; stgs Duration: 15' Composed: 2015 Published by: Amy Mills Music, LLC Dedicated to the Men and Women of the US Armed Forces and their Families Catharsis was commissioned by Brian Hecht, bass trombonist with the Atlanta Symphony Orchestra. It explores his feelings about a friend who was killed while serving in the armed forces. It is powerfully moving and truly cathartic for performers and listeners who have experienced loss. Catharsis is more than just a piece of music. For me, it’s a way to connect with my inner self and release deep, strong feelings through the expression of this music. I feel that this piece could be a similarly cathartic experience for any performer in all walks of life. Brian Hecht, Bass Trombone, Atlanta Symphony Movement I: Playful Happy memories of childhood fun, playing super-heroes, climbing and falling out of trees. Movement II: Tragic The tragedy is announced, then the anger, frustration, denial, then gradual acceptance and coming to peace. Movement III: Renewal The final movement recognizes heroism, and encourages all who have experienced tragic loss to Never Forget as they Go Forth info the future, changed, but with renewed conviction and hope. Difficulty Level: Trombone 6 (Professional) Orchestra 5 (Advanced) See composer website for audio sample. Performance materials available on rental only:.
SKU: CF.P3325
ISBN 9780825897450. UPC: 798408097455.
Bennington, VT composer Frederic Sharaf had written many solos for Mezzo-soprano with his wife Jane in mind. Our recently released Three Settings from Imitations by Robert Lowell (CF.V2498) was premiered by Jane in a competition in 1971, which allowed her to undertake a summer study program at Yale. After a lifetime in music and education, Jane Sharaf passed away in August, 2007. Frederic continues to compose, in part as catharsis, with a string of love ballads for Mezzo-soprano and piano, among his other works. Many of these ballads, including The Anniversary (above) and the Three Settings, were recently released on CD by Kara Cornell and Michael Clement. The duo also performed these works in Albany, in a concert entitled Gems of the Region: Music by Local American Composers. We are pleased to make available three more representative works by Frederic Sharaf for piano solo.
SKU: CF.P3326
ISBN 9780825897467. UPC: 798408097462.
SKU: ST.H406
ISBN 9790220219269.
Reflecting on a woman's lost love, Before Dawn conveys a sense of catharsis in music that builds through quietly introspective episodes to a powerful conclusion.
SKU: BT.DON13475
SKU: PR.11441690S
UPC: 680160626021. 9 x 12 inches.
Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago. Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination. Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars. It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920sâ€, first shown at New York’s Metropolitan Museum of Art in 2006-07. Nussbaum would have been a bit too young to be included in this exhibit. His most noteworthy art was created in the last very few years of his short life. The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory†as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure musicâ€, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.   The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened†(das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary†life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace†is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â€If I must perish - do not let my paintings dieâ€; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory†is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .
SKU: CF.P3324
ISBN 9780825897443. UPC: 798408097448.
SKU: HL.44004957
UPC: 073999693393. 8.5x11.0x0.073 inches.
The commissioner of this work requested a piece that characterized humankind's ability to overcome personal tragedy, a scenario which often leaves one with a philosophy of serenity. The composer decided to use the analogy of the sequoia, a generic name for the huge redwood trees, particularly the Californian redwood. The remarkable life cycle of these amazing trees involves them dropping seeds to the ground which require heat to open their shells and germinate. The redwood forests are frequently subject to fires which can destroy the mother tree but ironically also provide the impetus for their seeds to spring into life; the trees actually need a disaster to procreate. In a similar way, the human spirit can actually gain from setbacks - we become stronger after adversity. The music falls into sections which can broadly be characterised as doubt, conflict, catharsis, inner calm and, finally, triumph.
SKU: HL.50511773
ISBN 9790080144817. Bach (23 x 30,2 cm) inches. German. Adam Kondor.
This short, metaphorical work captures the moment when a person casts a summative glance over the past, takes final leave of all that has happened and peers with cautious hope into the future, which will perhaps be better than the time now being left behind. This minimalist tribute was composed for the fortieth birthday of the painter Hans Nopper, even though it makes use of extremely restricted resources, it bears within it the possibility of catharsis. (Jessica Collewijn).