Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon             This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.

Full Orchestra - Level 3 - Digital Download SKU: A0.921070 Composed by Michael D. Blostein. Contemporary,Patriotic. Score and parts. 38 pages. Michael D. Blostein #2846143. Published by Michael D. Blostein (A0.921070). In response to the terror attacks in their city beginning on 2013, the citizens of Paris – joined by world leaders – staged a march, nicknamed The March of Defiance on Sunday, January 11, 2015, to show the world they stood in solidarity against terrorism and hatred.Premiered at Carnegie Hall, this work is designed to embrace and exploit, in a minimal way, this same concept.Each new idea, often presented in a new voice, is introduced by a disruption in the 6/8 pattern, only to return to the original feel. As a new idea is introduced, it is layered upon the previously stated ideas, introduced by the additional disruption of an additional beat, always to return.The formal structure is a relatively simple contrapuntal exercise, eventually expanding to 6 layers/species, from which the piece, while still growing dynamically, begins to thin out horizontally while adding a bit more harmonic interest (often through dissonance).Eventually, as the tessitura of the orchestra rises and the mass of sound and layers becomes simply too much to tolerate, the march repents into a peaceful ending.The work includes parts for Alto, Tenor and Baritone Saxophones, as well as Euphonium.

Full Orchestra - Level 3 - Digital Download SKU: A0.921074 Composed by Michael D. Blostein. Contemporary,Patriotic. Score and parts. 11 pages. Michael D. Blostein #2846149. Published by Michael D. Blostein (A0.921074). In response to the terror attacks in their city beginning on 2013, the citizens of Paris – joined by world leaders – staged a march, nicknamed The March of Defiance on Sunday, January 11, 2015, to show the world they stood in solidarity against terrorism and hatred.Premiered at Carnegie Hall, this work is designed to embrace and exploit, in a minimal way, this same concept.Each new idea, often presented in a new voice, is introduced by a disruption in the 6/8 pattern, only to return to the original feel. As a new idea is introduced, it is layered upon the previously stated ideas, introduced by the additional disruption of an additional beat, always to return.The formal structure is a relatively simple contrapuntal exercise, eventually expanding to 6 layers/species, from which the piece, while still growing dynamically, begins to thin out horizontally while adding a bit more harmonic interest (often through dissonance).Eventually, as the tessitura of the orchestra rises and the mass of sound and layers becomes simply too much to tolerate, the march repents into a peaceful ending.The work includes parts for Alto, Tenor and Baritone Saxophones, as well as Euphonium.This selection is the score only. For the score and parts, please select the other work title.

Full Orchestra - Digital Download SKU: A0.942100 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Score and parts. 121 pages. Silver Sickle Publications #6253447. Published by Silver Sickle Publications (A0.942100). Constitution Article 91 (Double Concerto for flute and guitar in one movement).  A quite demanding concerto from a technical point of view, unfolds many sonorities for  both solo instruments as well as orchestra, including dense texture, polyphony, and  a flavor of  minimalism just before the end.   After an agitated orchestra introduction, the flute enters with a lamenting and painful melody.  The guitar takes over by introducing the core motivic elements of the work.  Flute and guitar join in a chase-like duet with virtuosic passages in both instruments, accompanied by the orchestra in a  frenzied commotion.  The slow and almost distorted cadenza (with the snare drum) comes as a surprise and at the same time as a moment of relief.  The tension increases as propulsive rhythms drive through the finale and build with rapid agitation to the end. The title of the work, Constitution Article 91, refers to a part of the former Greek constitution used by the dictatorship between 1967 and 1974 to abolish democracy in Greece.  Certain rhythms in the work come from a fearsome and agitated speech that the dictator delivered to the academicians in 1973 following the students movement against the tyranny. Constitution Article 91 is a real tour de force for the soloists.  In this colorful work, Apostolos Paraskevas shows us that a meeting point can be found between advanced contemporary  idioms and evocations of an almost popular style.  This music is notable for its rhythmic verve, its melodic grace, and its emotional depth.  It has genuine substance, but speaks directly to the listener-a rare and welcome achievement.                                                                   John Daverio/Musicologist 

Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 5 - Digital Download SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjamin Sajo #6072943. Published by Benjamin Sajo (A0.1018921). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 4 - Digital Download SKU: A0.1031068 Composed by Liam A. Piper-Brandon. Contemporary,World. Score and parts. 10 pages. Liam A Piper-Brandon #2881197. Published by Liam A Piper-Brandon (A0.1031068). This is also known as my first symphony. I had written this in the ambition to get placed as a finalist in the Young Composers challenge for 2016. This song is based around the phrase Cry Havoc and let slip the dogs of war a phrase going back to the time of William Shakespeare's play. Julius Caesar. In the scene, Mark Antony is alone with Julius Caesar's body, shortly after Caesar's assassination. In a soliloquy, he reveals his intention to incite the crowd at Caesar's funeral to rise up against the assassins. Foreseeing violence throughout Italy, Antony even imagines Caesar's spirit joining in the exhortations: ranging for revenge, with Ate by his side come hot from hell, shall in these confines with a Monarch's voice cry Havok! and let slip the dogs of war. The song is split into split into 3 parts, the intro, the march to war, and the VictoryThis song is 5 minutes and 5 seconds long, and is appropriate for schools and studentsIf you have any questions, please email me at Liampb1998@gmail.com or 2ndHanover@gmail.com