Format : Sheet music
SKU: PR.114419240
UPC: 680160684762. 9 x 12 inches.
This three-movement work is adapted from my Woodwind Quintet No. 3 (2008), which was originally a four-movement piano duet (2007) and a symphonic wind ensemble work (2007), arranged here for a saxophone ensemble, for premiere at the 18th World Saxophone Congress held in July 2018 in Zagreb, Croatia. The authentic folk music from China West has amazed and inspired me in the creation of this work, which has the folk music elements drawn from the folk songs Du Mu and Amaliehuo of the Zang People; Ashima of the Yi People; as well as Dou Duo and the Lusheng ensemble music of the Miao People. It's written for soprano, alto, tenor, baritone, and bass saxophones with possible multiple players for all parts.This three-movement work is adapted from my Woodwind Quintet No. 3 (2008), which was originally a four-movement piano duet (2007) and a symphonic wind ensemble work (2007), arranged here for a saxophone ensemble, for premiere at the 18th World Saxophone Congress held in July 2018 in Zagreb, Croatia. The authentic folk music from China West has amazed and inspired me in the creation of this work, which has the folk music elements drawn from the folk songs Du Mu and Amaliehuo of the Zang People; Ashima of the Yi People; as well as Dou Duo and the Lusheng ensemble music of the Miao People. It’s written for soprano, alto, tenor, baritone, and bass saxophones with possible multiple players for all parts.
SKU: CA.240810
ISBN 9790007181833.
As a part of the collection of love songs for the prizewinning LIEDERPROJEKT, several new arrangements have been created for soprano and string quartet that can be heard on the two Liebeslieder CDs (83.028 and 83.029). The arrangements are by Andreas N. Tarkmann, emeritus professor for instrumentation and arrangement at the Mannheim University of Music and Performing Arts. Four English songs make up the main part of the collection: Purcell's If music be the food of love and Morely's It was a lover and his lass as well as the two folk melodies Down by the Salley gardens and Greensleeves. In contrast, the painfully beautiful Finnish folk song Kukkuu and the slow pavane Belle qui tien ma vie, from the pen of Thoinot Arbeau, are included. It is a coronation for all musically oriented wedding feasts! Score available separately - see item CA.240800.
SKU: MB.30897M
ISBN 9781513472799. 8.75X11.75 inches.
This unique anthology enhances the voice and classic guitar repertoire with newly revised transcriptions of many of the most popular works of Schubert, Mozart, and Giuliani. It also includes four folksongs arranged by noteworthy mid-nineteenth-century English composer/guitarists.The 22 selections in this book lie well within the technical reach of vocalists and guitarists alike and will make an engaging addition to concert and recital programs. As the human voice brings an added lyrical dimension to any musical performance, audiences will love this music.Includes an outstanding online audio recording by the author and soprano, Kate Rawls.
SKU: PR.11441924S
UPC: 680160684779. 9 x 12 inches.
This three-movement work for saxophone quintet was created for premiere at the 18th World Saxophone Congress held in July 2018 in Zagreb, Croatia. The suite is adapted from Chen Yi's Woodwind Quintet No. 3 (2008), which was originally a four-movement piano duet (2007) and a symphonic wind ensemble work (2007). The authentic folk music from China West amazed and inspired Chen Yi in the creation of this work, which includes folk music elements drawn from the folk songs Du Mu and Amaliehuo of the Zang People; Ashima of the Yi People; as well as Dou Duo and the Lusheng ensemble music of the Miao People. It is scored for soprano, alto, tenor, baritone, and bass saxophones with possible multiple players for all parts.This three-movement work is adapted from my Woodwind Quintet No. 3 (2008), which was originally a four-movement piano duet (2007) and a symphonic wind ensemble work (2007), arranged here for a saxophone ensemble, for premiere at the 18th World Saxophone Congress held in July 2018 in Zagreb, Croatia. The authentic folk music from China West has amazed and inspired me in the creation of this work, which has the folk music elements drawn from the folk songs Du Mu and Amaliehuo of the Zang People; Ashima of the Yi People; as well as Dou Duo and the Lusheng ensemble music of the Miao People. It’s written for soprano, alto, tenor, baritone, and bass saxophones with possible multiple players for all parts.
SKU: CA.5281100
ISBN 9790007302023.
The fourth volume of the Lieder und Chorwerke (Songs and Choral Works) from the Reger Hybrid Edition of Works (RWA) presents songs Max Reger composed between November 1903 and July 1905. In his Opus 75 songs, Reger set verses by classic German poets, such as Goethe and Hölderlin, as well as folksong texts in his usual avant-garde manner. In the 30 songs from the first two collections of the Schlichte Weisen, Op. 76, on the other hand, the composer distanced himself from his previous approach to songwriting by adopting a simpler, folk-like style. The popular Schlichte Weisen were also a concession to his publishers' wishes. The songs in Opus 88 were published not by Lauterbach & Kuhn but by Simrock, a firm more willing to accept music that departed from Alltagsgeschmack (everyday or popular taste). The four songs were dedicated to the mezzo-soprano Lula Mysz-Gmeiner.In January 2008 the Max-Reger-Institut (MRI) in Karlsruhe began publishing a scholarly-critical edition of the works of Reger (RWA), supported by the Mainz Academy of Sciences and Literature. As a Hybrid Edition, it is exploring new approaches in editorial techniques.The digital offer belonging to the volume is published in an online portal.Contents:Eighteen Songs op. 75Schlichte Weisen op. 76, vol. ISchlichte Weisen op. 76, vol. IIFour Songs op. 88Ehre sei Gott in der Höhe WoO VII/37AppendixWaldeinsamkeit op. 76 no. 3Minnelied op. 76 no. 21.
SKU: PR.411411690
UPC: 680160686032.
The four name arias in HARRIET TUBMAN: When I crossed that Line To Freedom, portray stages in the title character's transformation from slave to freedom-fighter. First, as a child, she introduces herself as Araminta, who is often called, Minty. Her naive prattlings establish a dramatic contrast between childhood's contentment and the harsh realities of slave existence. My name is Harriet, now. Don't call me Minty any more, declares the teenaged heroine. Having survived a series of abusive masters and a debilitating injury, she asserts her rites of womanhood through the shedding of her childhood moniker. The grown Harriet Tubman reintroduces herself as a free woman, recounting the harrowing tale of escape from slavery. Confronted by bittersweet poignancy at having crossed the line to freedom without family to welcome her, she is inspired towards a new goal: returning home to rescue loved ones. In the final aria, Tubman, a seasoned conductor on the Underground Railroad, embraces the folkloric title given to her by escapees and aspiring runaways. I am 'Moses, the Liberator,' she proclaims. Her transformation is complete.The four “name†arias in HARRIET TUBMAN: When I crossed thatLine To Freedom, portray stages in the title character's transformationfrom slave to freedom-fighter.First, as a child, she introduces herself as “Araminta,†who is oftencalled, “Minty.†Her naïve prattlings establish a dramatic contrastbetween childhood's contentment and the harsh realities of slaveexistence.“My name is Harriet, now. Don't call me Minty any more,†declares theteenaged heroine. Having survived a series of abusive masters and adebilitating injury, she asserts her rites of womanhood through theshedding of her childhood moniker.The grown Harriet Tubman reintroduces herself as a free woman,recounting the harrowing tale of escape from slavery. Confronted bybittersweet poignancy at having crossed the line to freedom withoutfamily to welcome her, she is inspired towards a new goal: returninghome to rescue loved ones.In the final aria, Tubman, a seasoned conductor on the UndergroundRailroad, embraces the folkloric title given to her by escapees andaspiring runaways. “I am 'Moses, the Liberator,'†she proclaims. Hertransformation is complete.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
