Three Fragments

SKU: HL.4008993

UPC: 196288283874.

The work “Fragments” is an extremely powerful and energetic Concertino for trombone, full of different tonal colours and based on two motifs that are broken down into their fragments and processed further. The slightly playful main motif is presented by the soloist after an imposing introduction and gradually develops jazzy elements without abandoning the contemporary spirit. Throughout the work, the last three notes of the introductory motif are presented both as a short, shrill fragment and as a lyrical theme, which supports the constant alternation between leggero and marcato. An ostinato, which is carried through all registers, gives the work the necessary drift and serves as a common thread to connect the different parts. “Fragments” was commissioned by the Luxembourg Ministry of Culture in collaboration with the “De klenge Maarnicher Festival” and was a compulsory piece for the final round of the “1st Michel Becquet International Trombone Competition”.

SKU: PR.11640342S

UPC: 680160687749.

The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.
the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.

SKU: CA.3108069

ISBN 9790007134129. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and parts available separately - see item CA.3108000.

SKU: CA.3108061

ISBN 9790007206796. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.

SKU: CA.3108055

ISBN 9790007183387. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score available separately - see item CA.3108000.

SKU: CA.3108071

ISBN 9790007206833. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.

SKU: CA.3108057

ISBN 9790007242688. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score available separately - see item CA.3108000.

SKU: CA.3108064

ISBN 9790007206826. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.

SKU: SU.80300162

1. Oh, the Beautiful Treasure; 2. We Will Walk with Mother and Mourn; 3. Hop Up and Jump Up. Explore the American heritage of Shaker hymnody with these three settings of lesser-known, very appealing Shaker spirituals. Each brief setting grows from its underlying melody to make an exceptionally unified arrangement. With a different technique as the focus for each arrangement, these minute-long pieces make fine vocalises for your choir. Oh the beautiful treasure, with its square rhythms, horn calls, and harmonic texture opening out and closing, is excellent for teaching chord tuning. We will walk with Mother and mourn, with its smooth, stepwise, rising and falling melody, is a fine exercise for legato singing. Hop up and jump up, with its crisp rhythms and phrase fragments tossed from part to part, calls for rhythmic clarity and clean entrances and cutoffs. SSAA a cappella; 13 pages, plus editorial notes; duration: 3:15 min.; range: g to f; difficulty: easy-medium; from the Nina Gilbert Choral Series. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.

SKU: SU.32040150

From delightful to lonesome to fiery, this three movement suite invites both performers and listeners to share the joy of being enveloped in richness of tone, creating poignant expressions of the heart. Marvelous recital and concert music. Vignette I: Delightful Dance Jaunty rhythms and clever surprises render a joyful opening section. Later, a warm, love filled melody is poured out by each instrumentalist, and climbs to a glorious tutti. Then it is back to the joyful dance, a few more surprises, and a delightfully happy ending. Vignette II: Lonesome Chaconne opens with two dark chords. Then the piano begins the chaconne with a mournful bass line and plaintive off beats. The viola enters and plays a lonesome melody, then is joined by the cello in a melancholy duet over the chaconne until it dies away. The cello's brief recitative emerges from the depths into an aching cry that is then echoed by the viola. Joining together, they pour out a fervent melody, moving higher and higher until they breakthrough to the light. Alas, the vision fades, and they return to only fragments as the chaconne disappears. Vignette III: Fiery Fugue opens with a feisty subject melody, first in the viola, followed by the cello, piano right hand, and left hand. It is similar in form to a Bach fugue, but uses modal tonality and syncopated rhythms. The statements and episodes build to a recall of the fervent melody from the second movement, leading to the final dynamic unison statement of the fugue subject. Just as it almost dies away, it recharges and boldly bounds ahead to the end. Difficulty Level: 5 (Advanced) Viola, Cello, Piano Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC See composer website for audio sample.

SKU: DZ.DZ-2707

ISBN 9782897376246.