The Light Of Dawn

SKU: GI.G-9369

UPC: 785147936909. English. Text Source: Ref. para. of Isaiah 55. Text by Mary Louise Bringle. Scripture: Isaiah 55.

Despite the current state of the world, reading through this text, one can’t help but feel that light, love and hope are certainly in the days ahead, as promised. Using the tune TEMPLE OF PEACE, this will quickly become a favorite. Meaningful!

SKU: PR.31241902S

UPC: 680160690589. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

SKU: PR.31241902A

UPC: 680160690510. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

SKU: CL.RWS-2322-00

This epic fanfare will make your ensemble shine like a radiant beam of dawn’s light. Perfect as a concert opener, Dawn’s Triumph was written to bring inspiration and joy during the COVID-19 pandemic. Soaring melodies in the brass with technical passages in the woodwinds make this piece appropriate for any concert or festival performance.

SKU: CL.RWS-2322-01

This epic fanfare will make your ensemble shine like a radiant beam of dawn’s light. Perfect as a concert opener, Dawn’s Triumph was written to bring inspiration and joy during the COVID-19 pandemic. Soaring melodies in the brass with technical passages in the woodwinds make this piece appropriate for any concert or festival performance.

SKU: BT.DHP-1165725-140

English-German-French-Dutch.

A Vision of the First Light was commissioned by the Kitami Wind Ensemble, as a commemorative work for their 30th Anniversary. Satoshi Yagisawa composed this piece to conjure “Illusion seen through the dawn” of Hokkaido. The work starts with a quiet and beautiful introduction describing the landscape. The music is rising towards a festive, celebrating fanfare, before a deep tranquility descends, towards the end, creating a moment of reflection.

A Vision of the First Light werd geschreven in opdracht van het Kitami Wind Ensemble, ter gelegenheid van het dertigjarig bestaan van dit orkest. Satoshi Yagisawa componeerde het werk op basis van ‘beelden gezien bij het ochtendgloren’ van Hokkaido. De compositie opent met een mooie, rustige beschrijving van het landschap. De muziek bouwt dan op naar een briljante, feestelijke fanfare, waarna ze tegen het slot weer tot rust komt in een moment van reflectie.

A Vision of the First Light wurde vom Kitami Wind Ensemble aus Anlass seines 30-jährigen Bestehens in Auftrag gegeben. Satoshi Yagisawa komponierte das Stück, um eine Illusion von Hokkaido in der Morgendämmerung“ zu erwecken. Das Werk beginnt mit einer leisen und wunderschönen Einleitung, in der die Landschaft beschrieben wird. Die Musik steigert sich bis zu einer festlichen Fanfare, bevor eine tiefe Gelassenheit zum Schluss hin eintritt.

A Vision of the First Light fut commandé par le Kitami Wind Ensemble comme œuvre commémorative pour son 30e anniversaire. Satoshi Yagisawa a composé ce morceau pour évoquer « L’illusion travers l’aube » de Hokka do. L’œuvre commence par une introduction calme et magnifique qui décrit le paysage. La musique s’élève jusqu’ une fanfare festive, avant qu’une tranquillité profonde ne s’empare de l’atmosphère et crée un moment de réflexion vers la fin.

SKU: CL.026-4227-01

A delightful lyrical piece by popular composer David Shaffer that works wonderfully in the Build-A-Band format. Playable as long as you have the four main parts covered by the instruments of your choice. Arrangement includes optional parts for piano, timpani, percussion and mallet percussion. Will sound great with bands with extreme instrumentation issues and very small groups. Extremely nice!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)