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String Orchestra - Level 5 - Digital Download

SKU: A0.942953

Composed by Geoffrey Peterson. Contemporary. Score and parts. 43 pages. Geoffrey Peterson #4267231. Published by Geoffrey Peterson (A0.942953).

Link to complete recording: https://soundcloud.com/geoffrey-peterson/sets/the-edmund-fitzgerald-concerto On November 9th, 1975, the S.S. Edmund Fitzgerald left port in Superior, Wisconsin. The 729-foot-long iron ore carrier, loaded with 26 thousand tons of taconite pellets for the auto industry, was bound for Detroit. Earlier that day, the weather service had issued a gale warning. This was not unusual, considering that gale storms are typical during November on Lake Superior. The Fitzgerald’s Captain, Ernest McSorley, and her 29-member crew headed northeast unaware of the maelstrom they would soon encounter. At around 2 a.m., Bernie Cooper, captain of the Arthur M. Andersen, another freighter which was following a few miles behind the Fitzgerald, radioed Captain McSorley to consult with him about the worsening storm. They had both decided to take a more northerly route along the Canadian shore, which they hoped would provide some shelter from the violent gale winds and waves. The Fitzgerald’s long-range radar stopped working the following day and was needed in order to avoid Six-Fathom Shoal, a shallow area of Lake Superior that could rupture the ship’s hull. McSorley soon radioed the Anderson to report that the Fitzgerald had sustained some topside damage...a fence rail down, two vents lost or damaged, and a starboard list. A list meant that the Fitzgerald was taking on too much water and was causing it to lean to one side. The short-range radar also stopped working, and the radio direction beacon from nearby Whitefish Point vanished. This would make it impossible for the Fitzgerald to reach the lee waters of Whitefish Bay and escape the 80 mph winds churning 20 to 30-foot waves. At 7:10 p.m. that night, First Mate Morgan Clark of the Andersen radioed the Fitzgerald to see how they were doing. Captain McSorley replied, We’re holding our own. This was the last contact anyone would have with the Fitzgerald. Shortly thereafter, the Edmund Fitzgerald disappeared from the Anderson’s radar screen. All 29 of her crew were lost on November 10th, 1975. The Edmund Fitzgerald chronicles the tragic final voyage of the well-known shipwreck in 4 movements; Embarkment, The Gales, Six-Fathom Shoal (We’re holding our own.) and Entombment-Dirge. The concerto makes use of several musical quotes. The first is Spanish Ladies, an English sea chantey, which appears in both the 1st and 3rd movements. The second is the funeral march theme from the 2nd movement of Beethoven’s 3rd Symphony which is heard in the 4th movement of the concerto. In addition, a chime is rung 29 times during the final bars of the concerto to memorialize the men who lost their lives. The Crew of the S.S. Edmund Fitzgerald: Michael E. Armagost, Frederick J. Beetcher, Thomas D. Bentsen, Edward F. Bindon, Thomas D. Borgeson, Oliver J. Champeau, Nolan S. Church, Ransom E. Cundy, Thomas E. Edwards, Russell G. Haskell, George J. Holl, Bruce L. Hudson, Allen G. Kalmon, Gordon F. MacLellan, Joseph W. Mazes, John H. McCarthy, Ernest M. McSorley, Eugene W. O'Brien, Karl A. Peckol, John J. Poviach, James A. Pratt, Robert C. Rafferty, Paul M. Riippa, John D. Simmons, William J. Spengler, Mark A. Thomas, Ralph G. Walton, David E. Weiss, Blaine H. Wilhelm.

The Edmund Fitzgerald - Concerto for Piano and Strings
Orchestre à Cordes

$9.99 9.46 € Orchestre à Cordes PDF SheetMusicPlus

String Orchestra - Digital Download

SKU: A0.532834

Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834).

Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.

Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
Orchestre à Cordes

$25.95 24.57 € Orchestre à Cordes PDF SheetMusicPlus

String Orchestra - Level 4 - Digital Download

SKU: A0.1392366

Composed by John Philip Sousa. Arranged by Joel Jacklich (ASCAP) or. Holiday,March,Patriotic. 28 pages. Joel Jacklich #975894. Published by Joel Jacklich (A0.1392366).

The Thunderer (1889) is one of John Philip Sousa's most beloved marches. It is knot known to what, or more likely to whom, the title refers. Paul E. Bierley suggests that since the work was dedicated the the Columbia Commandery No. 2, Knights Templar, of Washington, D.C., and composed for its Twenty-fourth Triennial Conclave of the Grand Encampment, that the title may refer to Myron M. Parker, one of the principal men responsible for the success of the conclave.(1)

Sousa is so universally loved, that it seems a shame to restrict his performance only to marching bands and concert bands.  Here The Thunderer is arranged for string orchestra by Joel Jacklich (A.S.C.A.P.). Perfect for that next patriotic concert.

(1)Paul E. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), 89.

The Thunderer (March)
Orchestre à Cordes

$30.00 28.4 € Orchestre à Cordes PDF SheetMusicPlus






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