/ Choeur De Femmes (SSAA) A Cappella
SKU: KJ.8899
SATB Organ
A lovely and evocative setting of a gorgeous 17th century text, Christ, he requires still whereso'er He comes to feed or lodge, to have the best of rooms. Beautiful for Communion or General use.
SKU: BR.EB-8164
ISBN 9790004180075. 9 x 12 inches.
Rome, 1839/40. Fanny Hensel finally fulfills her longing for Italy, and in her four rooms, well furnished, she writes a number of little piano pieces at an old, light-weight, played-out tin can of a piano. Fast forward to 1999: Christian Lambour presents four of these impressions, all within a medium range of difficulty, in a first edition as Roman Piano Pieces.
SKU: PR.416414230
ISBN 9781598066630. UPC: 680160602087. 9x12 inches.
Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.†This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by†a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.
SKU: BR.EB-8846
ISBN 9790004184363. 9 x 12 inches.
We begin with an invitation to discover a work: Sigrid Naumann offers improvisational preliminary exercises that pave the way to the various pieces and are helpful for learning it. The stylistic palette is extraordinarily varied here. The pieces encompass all epochs from Baroque to classical modernity (Bartok, Kabalevsky, Kurtag, B. Heller); in addition, there are also traditionals and pieces from presentday piano pedagogy. Afterwards we distance ourselves again, for the second invitation goes out to the thematically grouped pieces that open up a variety of possibilities for free formative shaping. The new Spielregeln - Spielraume have proven themselves in practice and are supplied with insightful comments.Exploring the Rules and the Rooms of the Game Spielregeln - Spielraume (Rules of the Game - Rooms of the Game) is a dual invitation for free music-making at the piano.
SKU: HL.14008374
ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.
The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.
SKU: GI.G-7561INST
Scripture: John 14.
** GIA no longer publishes nor sponsors the work of Paul A. Tate. Pieces for which Tate served as an arranger remain on our website as the original work of the composer.
SKU: AP.46823
ISBN 9781470640880. UPC: 038081536880. English.
This set of full-color 9 x 12 cardstock posters provides a practical tool for teaching the International Phonetic Alphabet and uniform vowel formation. Each poster displays one of the primary vowel sounds, including its IPA symbol, pronunciation, and example words in English, Latin, Italian, German, French, or Spanish. Plus, an online resource offers recorded demonstrations of every sound. Equally useful for choral rehearsal rooms and vocal studios!
