Format : Score and Parts
SKU: CF.CM9735
ISBN 9781491161159. UPC: 680160919741. Key: A minor. Latin, English. Christopher Smart and ZRS.
Origins of the Tarantella The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (little spider), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the poison, the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship. Origins of the Text Christopher Smart (1722-1771), also known as Kit Smart or Jack Smart, was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke's Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor's prison, was common during this period if one's debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [Rejoice in the Lamb] was set to music by English composer, Benjamin Britten.) Smart's writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart's Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance: theraphosa [teh-rah-fo-sa] a genus of tarantula spiders bellicose [beh-lee-ko-sah] hostile; aggressive odiosa [o-dee-o-sa] hateful; vexation tenebrosa [teh-neh-bro-sa] creeping; dark nemorosa [neh-mo-ro-sa] wooded; shady lapidosa [lah-pee-do-sa] stony area; gritty The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work. About the Composer Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. Performance Notes Text: In Latin, the r is flipped; use s instead of z on endings such as phosa, cosa, and so on; the Latin o is a cross between oh and aw; in the transliteration above, I chose to simply use an o for consistency. The director will blend the oh and aw in the rehearsals to his/her own preference. Lastly, tarantula is pronounced tah-rah-n-too-lah (avoid teh-ran-choo-luh) within the confines of this text. Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico. In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.The tarantella is a popular southern Italian dance with origins in the 11th century. (There is even some mention of the tarantella in ancient Greek mythology.) Of the possible sources of the dance, the most popular comes from the villages of Tanto and Tarentum (“little spiderâ€), Italy. During harvest, workers in the field were sometimes bitten by the tarantula spider. To combat the “poison,†the afflicted workers went into a frenetic, almost musical exorcism to sweat the venom out of their pores. In the millennium since, the very energetic nature of the dance has remained, although the curative focus of the dance has given way to more enjoyable endeavors, even stately courtship.Christopher Smart (1722-1771), also known as “Kit Smart†or “Jack Smart,†was born in Kent, England and suffered from what is now believed to be acute asthma and other health issues as a child. As such, he did not work in the fields, but spent much time reading and writing, a passion that he nurtured for a lifetime. Well known in London literary circles, his career as a writer floundered due to mounting debts and his falling out of favor with the literary establishment: Sadly, he was forced to confinement at St. Luke’s Hospital for Lunatics, though this was based on his mounting debt, and not on insanity. (Confinement, or debtor’s prison, was common during this period if one’s debts could not be paid.) During his confinement, he worked on two of his most famous works, Jubilate Agno and A Song of David. (Part of Jubilate Agno [“Rejoice in the Lambâ€] was set to music by English composer, Benjamin Britten.) Smart’s writing style (which, at times, bordered on the absurd), along with his many obsessions, lead to frequent misperceptions of his work and his lucidity. In this present work, portions of Smart’s Jubilate Agno were used in mm. 24-31, 103-110 and 149-156. The remaining text was gathered by the composer, including the rapid, almost patter-like, delivery of words from A-Z in the alphabet. (Christopher Smart had a preoccupation with the alphabet.) These words both rhyme and accentuate the frenetic nature of the spider dance:The convergence, then, of the medieval tarantella (spider dance), the writings of a brilliant poet who bordered on the absurd, and the infusion of strong, descriptive and otherwise random, rhyming words, synthesizes to make dramatic lyrics for this work.Z. Randall Stroope is an American composer and conductor. He has served as Professor of Music at three universities (an Endowed Professor at two), conducted 47 all-state choirs, and directed over 40 times at Carnegie Hall, among other American venues. Randall guest conducts full-time, and composes from his home studios on Merritt Island, Florida and in Sandia Park, New Mexico.In Latin, the “r†is flipped; use “s†instead of “z†on endings such as “phosa,†“cosa,†and so on; the Latin “o†is a cross between “oh†and “awâ€; in the transliteration above, I chose to simply use an “o†for consistency. The director will blend the “oh†and “aw†in the rehearsals to his/her own preference. Lastly, “tarantula†is pronounced “tah-rah-n-too-lah†(avoid “teh-ran-choo-luhâ€) within the confines of this text.Stomp: This can be done by the entire chorus, or just the first row. It is as much visual as it is auditory. The string quartet is preferred over piano when that option affords itself. I created a piano score that is a viable option and included it in the piano/vocal score if a performance uses chorus/piano.
SKU: LO.15-3553H
ISBN 9780787760922.
When you are old and gray and full of sleep, and nodding by the fire, take down this book and slowly read … and bending down beside the glowing bars, murmur a little sadly how love fled and paced upon the mountains overhead, and hid his face amid a crowd of stars. Sensitive vocal lines and embracing harmonies highlight and enhance the subtle nuances of this beloved poem by William Butler Yeats. A deeply emotional and highly musical experience for performers and audiences alike.
SKU: CY.CC3101
ISBN 9790530110782. 8.5 x 11 in inches.
Philip Brink has spent his entire career building the knowledge to assemble this major book on the pedagogy of the Trombone. Below are his words to describe what the book entails. Trombonist's Toolkit was conceived as exactly that: a resource for troubleshooting one's playing, for working out problems, for advancing one's playing skills. It is NOT a method in the traditional sense - no weekly lessons, no planned schedule for arriving at a certain point after a year, two years, etc. The player [you, the reader] can search the topic list for specific problems in need of solution. Most of the topics are organized by general subject areas: air, embouchure, range building, etc. The source for most of what I write is my own personal experience as student, teacher, freelancer and orchestral performer. I owe a great debt of gratitude to teachers, mentors, colleagues and students past and present, for listening to my playing, trying out my concepts, putting up with my questions and so forth. Some of those people are present, some are far away, and sadly, some are no longer living. To all of them I say Thank you, and I hope those of you who read this can recognize what you told me! A word about the organization of the book: most of the concepts requiring practice and/or a physical approach are written out in a special manner; explanatory text is interspersed with exercises detailing a gradual approach to the topic at hand. The appendix contains a number of exercises all together, most of which were developed for my class at Mahidol University College of Music in Thailand. Philip Brink - 2019.
SKU: M7.DOHR-88837
ISBN 9790202098370.
There comes a time in life when your parents have passed on. What we are left with is the memories of their love, guidance, support, and the happy times together. Last August when my mum sadly passed away, I wrote an Elegy as part of my grieving. However, as a family we had happy times together and it seemed only right to compose a work which would celebrate this. So, I added a first and last movement to create a short concertino. The movements are: Prelude: Peter John Connell: The Cheeky Chap Elegy: Mavis June Connell (Time To Remember) Rondo: Family Fun (Adrian Connell) Performance note The work can also be performed with accompaniment of string orchestra and harp using the set of parts for the version for clarinet and orchestra (E.D. 88833).
SKU: M7.DOHR-88835
ISBN 9790202098356.
There comes a time in life when your parents have passed on. What we are left with is the memories of their love, guidance, support, and the happy times together. Last August when my mum sadly passed away, I wrote an Elegy as part of my grieving. However, as a family we had happy times together and it seemed only right to compose a work which would celebrate this. So, I added a first and last movement to create a short concertino. The movements are: Prelude: Peter John Connell: The Cheeky Chap Elegy: Mavis June Connell (Time To Remember) Rondo: Family Fun (Adrian Connell) Performance note A version with accompaniment of string orchestra and Harp is also available (E.D. 88833). This version for clarinet and piano is also the piano reduction of that version.
SKU: AP.12-0571570054
ISBN 9780571570058. English.
Composer's note: Coogee Funk was inspired by a trip to Sydney, Australia. I had decided on a whim to travel to OZ and, after a lot of busking, managed to save up enough money. Once there I fell in love with the city instantly. The hedonistic mix of bars, beach and islands coupled with the desolate countryside and mountains was totally inspiring. I began sketching some ideas for this piece within a few days of arriving in Australia. The piece has three main sections with a short coda at the end of the work. The first part is fast and furious, loosely inspired by some of our more interesting nights out in the city. The second, a far more lyrical section featuring offstage saxophones and solo flugel horn is rather nautical in flavor with just a moment of nausea. The third is a funk explosion that gradually rears out of control with a funk fugue, of sorts. The piece ends darkly with a lonely horn solo, sadly slipping into a silent void.
SKU: HL.14015291
ISBN 9780711967120.
Daedalus Remembers is the third part in a trilogy called 3 for Icarus. Daedalus was Icarus' father and a famous craftsman. He once forged a magic sword for Peleus which had a property of making its owner victorious in battle, and he also created the labyrinth of King Minos of Crete in which the Minotaur (half bull, half man) was imprisoned. The second part of the trilogy is entitled Minotaur Games after Troy games, a kind of labyrinthine dance involving cords (Ariadne's thread?). At one point in the myth Daedalus and Icarus are also imprisoned in the labyrinth. They escape by means of wings which Daedalus has made from feathers and wax. Sadly, despite his father's warnings, Icarus flies too close to the sun in a fit of hubris, and the wings melt, causing him to plunge to his death. Daedalus alights safely on a beach in Sardinia, and after he has collected his thoughts remembers his son's fall and scenes from his own past life. Have the gods paid him back for the death of his nephew Talos, whom Daedalus killed in a fit of jealousy by pushing him off the top of a temple in the Acropolis? Daedalus rants and sorrows - dark memories nag persistently. Daedalus Remembers is scored for solo cello with flugelhorn, two horns, percussion, cimbalom, harp, three violas, four cellos and two double-basses.
SKU: HL.50601156
UPC: 888680739447. 7.75x10.5 inches. Critical edition by Federico Maria Sardelli.
The critical edition of these concertos that have come down in incomplete form adds the last piece to the immense mosaic of Vivaldi's music for bassoon; his 39 solo concertos plus a huge number of concertante parts scattered among works in different genresindeed constitute a unique contribution for his period.The critical introduction takes the opportunity to sum up the state of knowledge about this subject, tracing the history of this instrument in Italy from the seventeenth century up to Vivaldi, and identifying possible performers and commissioners of his works written for it. A surprising picture emerges: at the very time when the bassoon had reached the nadir of its fortunes, Vivaldi entrusted to this instrument an extraordinary number of works making extreme technical demands, clear evidence that there was a virtuoso in Venice capable of playing them.The two concertos RV 468 and RV 482, sadly lacking some of their movements, are nevertheless perfectly playable and enjoyable piecesthat testify to the generous assistance given by Vivaldi to the maturation of this instrument.
SKU: PR.11641139S
UPC: 680160682119.
Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100. I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici. My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven. III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut. IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.
SKU: FV.FUE-10256
ISBN 979-0-50182-256-0.
My Cyprus Wedding Song is a gift to both a married couple and to a new piano that was kindly donated to the Brixworth Music Festival by the wife of this couple. The husband - who is sadly no longer with us - came from the Greek part of Cyprus, and it seemed appropriate to write a love song for these two generous people. I found this Cyprus Wedding Song in a book of folk songs from around the world. Apparently it is very well known in Cyprus.UA/WP: 18. Mai 2019, Brixworth Music Festival, Lydia Jardon, piano.