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Piano Solo - Level 5 - Digital Download

SKU: A0.1477723

Composed by Aaron Robinson. 20th Century,Classical. Score. 55 pages. Music at Immanuel #1055103. Published by Music at Immanuel (A0.1477723).

Dedicated to pianist Eric Xi Xin Liang, PIANO SONATA by American composer Aaron Robinson is a programmatic work on a monumental scale. Composed in four movements representing four areas of Maine: Machigonne (Portland), Down East, Malaga Island and Katahdin, each paints a detailed portrait of a specific time and place in the State’s history. Its compositional structure draws heavily on the sights and sounds associated with each region while weaving original themes throughout. Mimesis is used to represent the native calls of the indigenous birds found within the state, such as the phoebe, bobolink and the pileated woodpecker; while hymns, songs and sea shanties are incorporated to represent various time periods. 

Movement I - MACHIGONNE - Native Americans originally named what is today the Portland peninsula of Maine “Machigonne”, which translates “Great Neck”. The movement quotes several sacred and ritual songs of the Passamaquoddy Tribe of Maine. The struggle between centuries of habitation by the native peoples of the area is represented by the arrival of early settlers and illustrated by juxtaposing hymn tunes and dance music of the past eras.

Movement II - DOWN EAST - is the eastern coastal area of the state closely associated with the French territory of Acadia. Replete with historic sea shanties and tunes, the sound of tolling ship and buoy bells, lighthouse fog horns, and ocean winds are intertwined to create a high-spirited journey which culminates in the familiar Shaker tune from Alfred, Maine.

Movement III - MALAGA ISLAND - Today an uninhabited reserve, Malaga Island was once the home to an interracial community dating from the 1860s to 1911, when its residents were forcibly evicted by the State. The opening theme represents the remnants of the island in its present state; haunted by the memories and unsettling muted solitude of the past and its historical injustice. A peaceful hymn depicting simpler times becomes slowly unraveled, erupting in a traumatic chaos that is never resolved. A ghostly refrain can be heard in the distance as the movement concludes.

Movement IV - KATAHDIN - Mount Katahdin (“Catahdrin”), called “Great Mountain” by the Penobscot Native Americans, is located within the Northeast Piscataquis County, the northern terminus of the Appalachian Trail. The grandeur of its majesty is portrayed by the original themes depicting epic rising and falling passages traversing over centuries. Native Americans believed the mountain to be the home of the storm god Pamola (a place to be avoided), which is characterized by ever-changing major and minor keys within the often times turbulent motifs. The sonata ends in a tonal key: bringing the atonality and discordant change of the work and its representation as a whole to a final resolve.

PIANO SONATA lasts approximately 25 minutes.

PIANO SONATA Piano seul

$9.99 8.98 € Piano seul PDF SheetMusicPlus

Concert Band - Level 3 - Digital Download

SKU: A0.971618

Composed by Jonathan S. Laflamme. Christian,Christmas,Contemporary,Sacred,Standards. Score and parts. 114 pages. Jonathan S. Laflamme #515247. Published by Jonathan S. Laflamme (A0.971618).

HUMILITY by Jonathan S. Laflamme ©2012 The people walking in darkness have seen a great light; on those living in the land of the shadow of death a light has dawned. Isaiah 9:2* Humility seeks to draw attention to the Advent portion of the holiday season. This programmatic composition seeks to create an aural picture of the atmosphere both physically and spiritually in the eastern world B. C. and then try and connect it to Christmas traditions today. Students will really enjoyed rehearsing and performing this piece because of it’s programmatic nature, use of a plethora of percussion as well as some unusual uses of and combinations of instruments. Piccolo flute in the low register, soprano saxophone, open tom drums and oboe to create some Middle Eastern ambiance. Then, in order to create ‘the land of the shadow of death’ some unusual techniques call for whispers through instruments, french horns ringing their hands in and out of the bell, flutes playing on the head joints only, attaching a tenor saxophone mouthpiece to a euphonium and a baritone saxophone mouthpiece to a sousaphone. Add some trumpets and trombones playing only on their lead pipes and double reeds buzzing on just the reed and a haunting canvas to build the chaos of a world without salvation is created. Then, with the calming of the piano to present an extremely stark and hallow arrangement of the 7th century antiphon Veni Immanuel, ‘O Come, O Come Immanuel’ which crescendos to the coming of the savior at measure 128 precipitates the a highly antiphonal arrangement of ‘Joy to World.’ While this piece has some characteristics of ‘novelty band music’ there are plenty of technical demands that must be met in order to make it a legitimate concert band literature selection. *THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide.

Humility, The People Walking in Darkness Have Seen a Great Light! Orchestre d'harmonie

$39.99 35.95 € Orchestre d'harmonie PDF SheetMusicPlus

Concert Band - Level 3 - Digital Download

SKU: A0.971613

Composed by Jonathan S. Laflamme. 20th Century,Christmas,Renaissance. Score and parts. 114 pages. Jonathan S. Laflamme #2018099. Published by Jonathan S. Laflamme (A0.971613).

HUMILITY by Jonathan S. Laflamme ©2012 The people walking in darkness have seen a great light; on those living in the land of the shadow of death a light has dawned. Isaiah 9:2* Humility seeks to draw attention to the Advent portion of the holiday season. This programmatic composition seeks to create an aural picture of the atmosphere both physically and spiritually in the eastern world B. C. and then try and connect it to Christmas traditions today. Students will really enjoyed rehearsing and performing this piece because of it’s programmatic nature, use of a plethora of percussion as well as some unusual uses of and combinations of instruments. Piccolo flute in the low register, soprano saxophone, open tom drums and oboe to create some Middle Eastern ambiance. Then, in order to create ‘the land of the shadow of death’ some unusual techniques call for whispers through instruments, french horns ringing their hands in and out of the bell, flutes playing on the head joints only, attaching a tenor saxophone mouthpiece to a euphonium and a baritone saxophone mouthpiece to a sousaphone. Add some trumpets and trombones playing only on their lead pipes and double reeds buzzing on just the reed and a haunting canvas to build the chaos of a world without salvation is created. Then, with the calming of the piano to present an extremely stark and hallow arrangement of the 7th century antiphon Veni Immanuel, ‘O Come, O Come Immanuel’ which crescendos to the coming of the savior at measure 128 precipitates the a highly antiphonal arrangement of ‘Joy to World.’ The piece concludes with the same chord it started with-a bright C major! This is done in the beginning to show the intention of a beautiful creation story without death and in the end as kind of a, this is just the beginning, sentiment by way of a half cadence. After all, in regards to this composition, Christmas day is just the beginning of the purpose of the Word made flesh. While this piece has some characteristics of ‘novelty band music’ there are plenty of technical demands that must be met in order to make it a legitimate concert band literature selection. *THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide.

Humility Orchestre d'harmonie

$50.00 44.95 € Orchestre d'harmonie PDF SheetMusicPlus

Two Violins, Piano - Digital Download

SKU: IZ.PDP300

Composed by Rebecca Clarke. Score and Parts. 52 pages. Imagine Music - Digital #PDP300. Published by Imagine Music - Digital (IZ.PDP300).

9 x 12 inches.

Clarke worked on the Pieces for Two Violins and Piano during 1909, her last year at the Royal College, when Danse Bizarre gained her a scholarship. Clarke mentioned Danse Bizarre in her typescript memoir composed in the 1970s, and also discussed it with me in 1977 while helping me catalogue her compositions, but she said then that it was long lost, and made no mention of any related material. In the year 2000, however, Clarke's great-nephew Daniel Braden found.a box that Clarke had put in the back of a closet decades before and evidently forgotten, which turned out to contain a chaotic assortment of letters, papers, medical records, and music-manuscript sheets. When put in order, the latter yielded the missing inner leaf of an important viola piece and a number of previously unknown or presumed-lost arrangements and compositions, including ''Danse Bizarre and a Prelude, a Nocturne, and the beginning of a Finale for the same instruments, on the same paper, and bearing similar markings in Clarke's hand and in at least one other hand, which may well be Stanford's. The four movements were plainly developed as a suite, although there is nothing to suggest a sequence for the inner movements, and no compelling reason to believe that the Finale ever got beyond the extant eight pages. The manuscript of the Finale is noticeably rougher than those of the other movements, and several pencil-markings, apparently in another hand, suggest that some of its motivic material had not yet jelled. It seems entirely possible that Clarke had only begun this movement when a family crisis forced her to leave the College, and that she never returned to it. In any case, there is not enough of the Finale to make performance feasible, but the other movements stand quite magnificently on their own. They were recorded by Lorraine McAslan, David Juritz, and Ian Jones on Dutton CDLX 7132, released in 2003. The first public performance, by students at the Royal College under Jones's supervision, took place in May 2005 in the College's Concert Hall, where Clarke had last performed nearly a century before.

Three Pieces for Two Violins and Piano
$32.00 28.77 € PDF SheetMusicPlus

1 (auch Picc.) · 1 · 1 · Altsax. · 0 - 0 · 1 · 0 · 0 - S. (Trgl. · hg. Beck. · gr. Tamt. · kl. Tr.) (2 Spieler) - Tenor-Banjo (auch Git.) · Cemb. (auch Klav.) · Harm. - Str. (1 · 1 · 1 · 1 · 1) - Digital Download

SKU: S9.Q25913

One-act play by Peter Kien. Composed by Viktor Ullmann. This edition: study score. Choral music - Ernst Eulenburg - Opera. Eulenburg Miniature Scores. Downloadable, Study score. Op. 49b. Duration 60 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q25913. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q25913).

German • English.

In September 1942 Viktor Ullmann was interned in the concentration camp of Theresienstadt where he composed the opera Der Kaiser von Atlantis [The Emperor of Atlantis] on a libretto of Peter Kien, a fellow prisoner, in 1943. This opera was rehearsed by a chamber ensemble founded with the permission of the SS, but its first performance was prohibited after the final rehearsal. The autograph of the score only survived because shortly before his deportation to Auschwitz in 1944, Ullmann handed it, together with the libretto, to a friend who was able to save both manuscripts at the end of the war. The opera is a parable of a cruel emperor, whose senseless war is claiming many lives. Death puts an end to the chaos by refusing his duty - now, everyone lives for eternity. The king becomes disempowered, but the people long for a release from the pain of life. Only the voluntary death of the emperor can restore death's original purpose. The libretto is a vigorous take on the Third Reich and more particularly the concentration camp of Theresienstadt through the means of a mystery play. The music, with its numerous references to jazz and then current light music, sometimes by direct quotation, puts the composer in the role of political commentator, following the tradition of topical opera in the 1920's.

The Emperor of Atlantis or Death's Refusal
$41.99 37.75 € PDF SheetMusicPlus

Choral Choir (SATB) - Digital Download

SKU: A0.1000880

Composed by Charles Griffin. 20th Century,A Cappella,Contemporary,Spiritual. Octavo. 6 pages. Coriolis Press #5996667. Published by Coriolis Press (A0.1000880).

SATB a cappella, ca 3' - Text by Richard Eberhard (see below)

Commissioned as part of Faith Partners, a residency underwritten by the American Composers Forum with funds provided by the Wolfensohn Family Foundation, and supplemental funding from St. Bartholomew's Church, St. Ignatius-Loyola and Temple Emanu-el. Premiered by St. Bartholomew's Church, William Tully, Rector, under the direction of William Trafka.

Text:

In after time, when all this dream
Becomes pure dream, and roughest years
Lie down among the tender grass,
And spring up sentient upon the meadow;

In that after time of great-born Aprils,
Beyond a century of tatters and malice,
When love has thrown out fear and madness
The eyes will see the sun as wonder.

In after time, when rage and chaos
Lose their sov'reign force, new dream
Will lift the shining life to spirit
And mate the make of man to merit.

Then shall holy summers come; then laughter
Godlike shake upon a dewy morning;
Then fullness grow - big with purpose,
And man shall know again his richness.


In After Time - SATB a cappella Chorale SATB

$1.99 1.79 € Chorale SATB PDF SheetMusicPlus






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