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The second movement, in true Conservatoire concours fashion, sees the flutist dance through quick ideas that occasionally break into technical fireworks.\u003c\/p\u003e","brand":"Ruth Anderson","offers":[{"title":"Physical","offer_id":45445806948572,"sku":"ACA-ANDR-001","price":25.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445806981340,"sku":"ACA-ANDR-001e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANDR-001e_Page_1.jpg?v=1721831226"},{"product_id":"sonatine","title":"Sonatine","description":"\u003cp\u003eRuth Anderson's small Sonatine, for flute and piano, is a charming beginning work that introduces the student to several of the musical tendencies of the 20th Century while remaining firmly grounded in near-traditional tonality and melodic material. In three movements: I. Dance, II. Petite Waltz, and III. 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How like the rounded, circular music of this man! His ever-recurring themes move through time and space in fresh and ingenious paths, saying all there is to say and no more, no less.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479055917276,"sku":"ACA-AUSE-003","price":22.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479055950044,"sku":"ACA-AUSE-003e","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-003e_Page_1.jpg?v=1722939576"},{"product_id":"austin-birthday-bouquet","title":"BIRTHDAY BOUQUET","description":"\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\n\u003cp\u003eThe title song in this cycle is joyful, spontaneous, and rapturous. Different ostinato patterns link this with the second song. The clear, unambiguous melodic line, almost folklike in nature, contrast with the sensuous and chromatic piano line.\u003c\/p\u003e\n\n\u003cp\u003eThe second song, full of sun and shadow, contains a brief quote from Hugo Wolf's \"Gesang Weylas\" (from \"Mörikelieder\"), a personal \"dream picture' shared by my husband and myself.\u003c\/p\u003e\n\n\u003cp\u003eThe ground of the third song, a serene lament, pays homage to Dido's famous lament from Purcell's opera. Moving into a more reflective mood, the final song gives off \"clouds' of sound in the piano, appearing and dissolving, as the poet-singer looks beyond the bond between two lovers into the equally intimate world of personal wishes and dreams.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479055982812,"sku":"ACA-AUSE-025","price":18.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479056015580,"sku":"ACA-AUSE-025e","price":13.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-025e_Page_1.jpg?v=1722939592"},{"product_id":"austin-brainstorm","title":"BRAINSTORM","description":"","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479056081116,"sku":"ACA-AUSE-004","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479056113884,"sku":"ACA-AUSE-004e","price":11.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-004e_Page_1.jpg?v=1722939598"},{"product_id":"austin-cantata-beatitudines","title":"Cantata Beatitudines","description":"\u003cp\u003eThe inspiration of ancient Greek music, verse, and movement provided the background setting, and the idea of blessedness as wholeness is pursued. In this work, the positive but realistic theology of Beatitudes concludes with an \"outburst of joy\" an homage to Messiaen.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479056146652,"sku":"ACA-AUSE-013","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-013e_Page_1.jpg?v=1722939612"},{"product_id":"austin-capricornus-caribbicus","title":"CAPRICORNUS CARIBBICUS","description":"\u003cp\u003eComposer's Note:\n\u003cbr\u003eThis music was commissioned by Maria Degenfeld Miller on behalf of the fortieth anniversary of the founding of the Virginia Recording for the Blind and Dyslexic, who was a Capricorn and who owned the beautiful home, Cashmere, in Barbados.\n\u003cbr\u003eThe punctuated rhythms and syncopations of African derivation which overlaid the contradance, the most popular dance in the Caribbean during the nineteenth century, combined to form the first musical genre that truly had a Caribbean character. The fast, upbeat opening Danza reflects these influences. Besides turning itself into a percussive \"wood drum' at times, the piano also simulates the low, deep rolling sea (can you hear where this passage is?!).\n\u003cbr\u003eThe Beatitude of Movement II's title acknowledges those physically blind, but not spiritually. This middle movement is calm and expectant, as if one is hearing and seeing in a world different than our own. Upwardly spiraling passages signal a heavenly direction. \"Purity of heart\" indicates single-mindedness, indicated by the main theme.\n\u003cbr\u003eThe final movement brings together many threads from Mrs. Miller's full and many-faceted life. Having been born in Bavaria, she spent many years in Cuba where her husband was with the American Embassy: a waltz rhythm turns into the dotted notes of the habenera. Her lovely farm in Charlottesville called forth a quote from \"In the Blue Ridge Mountains of Virginia\", woven together with a popular Latin American melody.\n\u003cbr\u003eThe composer, as well as Mrs. Miller at the premiere of this music, is in the \"September' time of life. When the original flutist mentioned that one of her favorite songs was \"The September Song\", Movement III's title was foreordained. You'll recognize the musical quote!\n\u003cbr\u003eThis music shifts between modal and polytonal figures. The composer continues to be interested in slight, incremental changes, for example, in phrase length or melodic figures. (Perhaps music charts a progress of how we change as human beings.) If the formal design were analyzed, one would discover dramatic musical events occurring at points one-third, one half, and two-thirds of the way through each movement.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479056212188,"sku":"ACA-AUSE-024","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479056244956,"sku":"ACA-AUSE-024e","price":24.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-024e_Page_1.jpg?v=1722939615"},{"product_id":"austin-celebration-concerto-past-present-future","title":"CELEBRATION CONCERTO (past-present-future)","description":"\u003cp\u003eMovement I. \"I am the Alpha and the Omega, the first and the last, the\n\u003cbr\u003ebeginning and the end.\" (Revelation 22:13).\n\u003cbr\u003eInterlude 1 \"Ma fin est mon commencement (\"My end is my beginning\")\"\n\u003cbr\u003eMovement II.\"I am the door of the sheep..I am the good shepherd..\"(John\n\u003cbr\u003e10: 7-17) \"Ma fin est mon commencement\"\n\u003cbr\u003eInterlude II. \"I have other sheep that are not of this fold.\"\n\u003cbr\u003eMovement III. \"Do not fear, only believe.\" (Mark 5:36)\n\u003cbr\u003eInterlude III. \"Fare thee well and fare thee forward, Traveler!\"\n\u003cbr\u003eMovement IV. 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Truly, I live in sinister times\n\u003cbr\u003e2. I came to the city\n\u003cbr\u003e3. You, who reappear\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479057522908,"sku":"ACA-AUSE-037","price":26.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-037e_Page_1.jpg?v=1722939679"},{"product_id":"austin-frauenliebe-und-leben-womans-love-and-life","title":"FRAUENLIEBE UND-LEBEN (Woman's Love and Life)","description":"\u003cp\u003eI. \"Since I have seen him...\"\u003cbr\u003eII. \"He, most wonderful....\" \u003cbr\u003eIII. \"I cannot grasp it....\"\u003cbr\u003eIV. \"O ring on my finger..\"\u003cbr\u003eV. \"Dearest friend..\"\u003cbr\u003eVI. \"Dream of days gone by..\"\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical - English","offer_id":45479057588444,"sku":"ACA-AUSE-011","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - English","offer_id":45479057621212,"sku":"ACA-AUSE-011e","price":12.25,"currency_code":"USD","in_stock":true},{"title":"Physical - German","offer_id":45479057653980,"sku":"ACA-AUSE-011g","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - German","offer_id":45479057686748,"sku":"ACA-AUSE-011ge","price":12.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-011e_Page_1.jpg?v=1722939719"},{"product_id":"austin-gathering-threads","title":"Gathering Threads","description":"\u003cp\u003eA collection of fragmentairy threads replaces a traditional motive at first. 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It consists of five movements, the duration of which grows from the brief first movement, arched to the large third movement and reduced again to the smaller fifth movement, in an arch form. The five sections are meant to be points of a star, with a brief but mystical center at the end of Movement III. Concerning the number symbolism of medieval times, the numbers 3 and 4, as reflected in the duration of these movements and in the overall pulse (rather than meter, which is not defined by the barlines, which primarily serve as conducting\/performing aids) delineate the stance of the listener between God and the world. \u003c\/p\u003e\n\n\u003cp\u003eThe text of this Antiphon has been divided into five parts, with each part comprising one movement of the work:\u003c\/p\u003e\n\n\u003cp\u003eI. Caritas abundat in omnia Complete love abundant everywhere\u003c\/p\u003e\n\n\u003cp\u003eII. De imis excellentissima Of that beneath the most excellent\u003c\/p\u003e\n\n\u003cp\u003eIII. Super sidera Above the stars\u003c\/p\u003e\n\n\u003cp\u003eIV. Atque amantissima in omnia In all the most loving\u003c\/p\u003e\n\n\u003cp\u003eV. Quia summo Regi osculum pacis dedit. To whom, the exalted King,\u003c\/p\u003e\n\n\u003cp\u003eThe kiss of peace is bestowed.\u003c\/p\u003e\n\n\u003cp\u003eThe choice of instruments to accompany the singers, as Hildegard outlined, are also balanced and symbolic. For instance, Hildegard suggests in Scivias that the tambourine would be fitting to accompany songs; the tambourine and the triangle (an expression of joy) are played by the individual singers (if the singers do not wish to play these instruments, they may be played by the percussionist or another player), who, in turn, are heard in concert with flute, clarinet, piano, and percussion. The percussion section includes a variety of drums, suspended cymbals, and tubular bells (chimes), among others, to underscore both Hildegard's instruction as well as her fervor.\u003c\/p\u003e\n\n\u003cp\u003eUpon examination of this Antiphon, one notices the balance found in every parameter of the work. For instance, the beginning and ending pitches of each line (or section) alternate between d and a, with the lowest note in the range (a) being sounded at the mid-junction of the text (\"super sidera'). I have, therefore, sought to balance proportions in corresponding variations on Hildegard's melodic line. Instrumentally, in Movements I and II, the mezzo-soprano is combined with clarinet, the baritone with flute, both of whom are accompanied by piano and percussion; the assignment of instruments to singers is reversed in Movements IV and V.\u003c\/p\u003e\n\n\u003cp\u003eThis sense of symmetrical balance is prevalent throughout: for instance, the use of the retrograde motive (with rhythmic diminution) in Movement II was used as an equilibrium principle. The third movement involves tutti forces, since it is central to the whole. The use of tritonal relations in Movement IV also signifies a balanced octaval juncture while, simultaneously, indicating an affective direction.\u003c\/p\u003e\n\n\u003cp\u003eI called upon the proportion of the Golden Mean (but not doggedly!) in planning significant musical events, instrumental entries, tone color contrasts, or thematic recurrence, but only employed it when the direction of the music allowed. For instance, about one-third of the way through Movement I, the tubular bells (chimes) can be heard, always reminiscent of the sacred. In Movement II, the opening sonorous chords of the piano recur at an important proportional juncture. The sense of symmetry in this movement extends to the appearance of the retrograde version of the theme (in rhythmic diminution) four measures after the theme itself has been presented. In addition, at the point approximately one-third through Movement III (measures 42 ff.), there is a dialogue between the voices and the woodwinds, the woodwinds sounding the final motivic cells of the chant line in retrograde and in diminution, as the voices sing the section of chant from the beginning; the lines meet (measure 47) and then continue on with more chromatic variations.\u003c\/p\u003e\n\n\u003cp\u003eIn using this Antiphon as my inspiration, I wished to retain its basic character and so did not alter its melodic line, as each chant portion was introduced at the beginning of each movement. In Movement IV, one can also hear the eleventh century Sanctus trope, Divinum mysterium, whose English text, \"Of the Father's love begotten\" is related to the message of \"Caritas abundat\"; the melodic direction of certain phrases in these two chants are similar enough to be used in combination in Movement IV. In addition, the specific textural passage in this Movement is \"\"¦atque amantissima in omnia\" (\"..in all the most loving\").\u003c\/p\u003e\n\n\u003cp\u003eThe contrast between proportional and metrical notation allows the performers the desired elasticity to weave in and out of a regular pulse. I sought a certain liberalization of a time\/space line, moving towards a dispersion in textural density in the last two movements.\u003c\/p\u003e\n\n\u003cp\u003eFinally, the use of coloristic instrumentation was directed toward an ecstatic mood, one of turbulence and joy. Only in Movement V, to indicate human and divine suffering, can one hear certain \"weeping' gestures as paradox at the point of text: \"exalted King\". I have tried to capture distinct \"points of light' as well as earth-centeredness, capturing the unique combination of the mystical with the practical which was so characteristic of this great saint.\u003c\/p\u003e\n\n\u003cp\u003eEdward Rothstein wrote: \"Aristotle said of the Pythagoreans\"¦ (who believed music to be an expression of number in sound)\"¦,\"They supposed the whole heaven to be a harmonia and a number.' \"\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479058014428,"sku":"ACA-AUSE-034","price":68.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479058047196,"sku":"ACA-AUSE-034e","price":44.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Score","offer_id":45479058079964,"sku":"ACA-AUSE-034s","price":54.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":45479058112732,"sku":"ACA-AUSE-034se","price":44.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-034e_Page_1.jpg?v=1722939753"},{"product_id":"austin-i-felt-a-funeral-in-my-brain","title":"I felt a funeral in my brain","description":"\u003cp\u003eComposer's note: Composing for a carillon gave me the unique opportunity to combine time with space: the air surrounding the bells vibrates with music, coloring the entire space within earshot with spirals of sound. It has always seemed a thing of wonderment, tinged with a sense of gravitas, to hear the carillon pealing and tolling, setting the air aflame. The listener does not see the performer, seated at the manuals, and yet the setting is intimate. Such a mysterious musical message truly rolls and unfolds in time and space.\n\u003cbr\u003eThis one-movement piece has been inspired by the atmosphere of Emily Dickinson's sobering, haunting poem. I almost envisioned the hands and feet of the carillonneur as those \"mourners, treading..to and fro..\", as in a litany of consolation.\n\u003cbr\u003eThe radiant Brahms quote comes at the section of the music which envisions \"..space began to toll\"¦as all the heavens were a bell. And Being but an ear\"¦\", ineffable, coming from another atemporal world. Although the poem is sober indeed, one can imagine that \"the box' will open into the \"heavens as a bell'\"¦resounding with sonority and silence.\n\u003cbr\u003eThe intervallic\/harmonic material is based on a series of stacked minor thirds\/minor sixths, or the reverse, which when reduced, yield a seven-tone chromatic scale, within the distance of a tritone. Some of the resultant overlapping sounds, although dense and chromatic, were intentionally placed to produce aural \"smudges'. These may be a departure from the idiom; nevertheless, I always took the various partials into account.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479058178268,"sku":"ACA-AUSE-027","price":11.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479058211036,"sku":"ACA-AUSE-027e","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-027e_Page_1.jpg?v=1722939761"},{"product_id":"austin-like-the-grass-of-these-fields","title":"LIKE THE GRASS OF THESE FIELDS","description":"","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479058374876,"sku":"ACA-AUSE-041","price":23.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479058407644,"sku":"ACA-AUSE-041e","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-041e_Page_1.jpg?v=1722939771"},{"product_id":"austin-litauische-lieder","title":"Litauische Lieder","description":"\u003cp\u003eI. 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That is, instead of being confined inside of one movement, three movements reveal the sonata principle. Sonata form is the reconciliation of opposites, the combining of opposite values into unity. Plato's Harmonia subscribes to the metaphorical idea of harmony almost as carpentry, the interweaving of disparate elements.\u003c\/p\u003e\n\n\u003cp\u003eI use opposites in a number of parameters in my music: the combination of tonal with non-tonal elements, the pitting of musical quotation with newly-composed material, the textural difference between two instruments, and, in this work, the reflection of chronological\/metrical time as opposed to events flowing outside of such considerations, with each instrument or party adhering mostly to its own time frame.\u003c\/p\u003e\n\n\u003cp\u003eThe first movement, then, is the sectional exposition or chronological layout, \"in time', of themes by horn and piano, equal partners in this narrative. The adagio introduction centers around 'd', which is the opening tonality of Mozart's 'Prague' Symphony, K504, premiered in Prague on January 19, 1787. Gestures in the horn part imitate motives from Mozart's great work, but this movement is less delineated formally at the outset. The process of becoming provides the justification here. A Mozartean degree of rhythmic instability becomes increasingly evident, as the movement progresses, with contrasting attitudes between horn and piano. Melancholy in the piano and near-defiance in the horn (similar to the mood of Mozart's 'Prague' Symphony) become reconciled towards the end, with a plea from the horn, followed by a quote from Dvorak's Symphony #9 ('New World'). Following Dvorak, I used Swing Low, Sweet Chariot, in the horn, weaving a musical thread from the past into new fabric.\u003c\/p\u003e\n\n\u003cp\u003eThe development section of sonata form is laid out in the second movement. The image here is of light streaming outside of linear time. The listener moves with the flow, a timeless space between the past and the future, with 'chronological' succession being brought into question. The horn motives become more rapturous and lyrical, as opposed to the ebullient patterns in the piano. Both players seek idiomatically to do what they do best. Once or twice in their parallel streams, they acknowledge one another in a conscious way. \u003c\/p\u003e\n\n\u003cp\u003eThe intense energy gained propels the music on into the final movement, a recapitulation, with the two parties in step, in imitation. This movement is structured loosely around the poetic form of the sixteenth century villanelle, which alternates two main ideas and their 'continuing' variations in strophic form. James Joyce's use of the villanelle in his \"A Portrait of the Artist as a Young Man\"influenced me, in that he presents and juxtaposes two realities, an inner and outer reality, and moves fluidly between them.\u003c\/p\u003e\n\n\u003cp\u003eAbout midway through the movement, the horn pulls all pitches together, with declamatory strength, rounding out the movement. One hears the hornist simultaneously sing and play a traditional horn motive. 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Since the mission of The Hartford Musical Club, however, is to welcome amateurs and professionals alike to make music, this poem spoke to the deep passion for music in the hearts of all the gifted members of the Club.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479058964700,"sku":"ACA-AUSE-023","price":12.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-023e_Page_1.jpg?v=1722939849"},{"product_id":"austin-rose-sonata","title":"ROSE SONATA","description":"\u003cp\u003eComposer's Note:\n\u003cbr\u003eThis is the second composition in which I have explored using geometric forms found in the natural world as the basis for an overall musical form. It is an ongoing exploration of the idea of motivic fragments emerging into a theme, often taken from other composers' works, through an epiphany. This transformational experience is usually determined to appear about two-thirds through the piece, roughly at the Golden Mean of the timeline.\n\u003cbr\u003eThe idea of 'sonata' to me, that of long-range thematic coherence, introduces thematic elements (derived entirely from the Brahms quote to be revealed later) in an initial section whose motivic logic is tightly organized, even though discernable musical meter is absent. The idea of 'rose' carries the motives from the outward petals ever further into the center of the blossom, the transitory and transformational (\"developmental') heart, where the source-quote of the motives is heard (forward as well as backward in a retrograde presentation).The first few measures of Brahms, Intermezzo No. 2, op. 118, is that source which permeates the entire musical fabric and even the chosen pitch classes. Moving away from the center outward toward the petal edges again, the sections correspond roughly to those heard earlier (recapitulatory, retrospective), but their duration is half as long and their melodic material betrays the source-quote to a far more obvious extent, having been \"informed' by the core experience. A chronological (metrical) sense of time returns in this final stretto-like section.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059030236,"sku":"ACA-AUSE-008","price":36.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479059063004,"sku":"ACA-AUSE-008e","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-008e_Page_1.jpg?v=1722939859"},{"product_id":"austin-sans-souci-suite","title":"SANS SOUCI SUITE","description":"\u003cp\u003eThe Baroque flute was championed by Quantz, in the employ of Frederick the Great at San Souci (and Rheinsberg). Borrowing musical 'affections' from his time, as well as musical quotes from his own compositions, this work also contains variations on a theme given to Bach by the King, when the venerable composer visited Sans Souci.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059292380,"sku":"ACA-AUSE-045","price":0.0,"currency_code":"USD","in_stock":true}]},{"product_id":"austin-showings","title":"Showings","description":"\u003cp\u003eJulian of Norwich wrote Showings, based on sixteen visions of God, occuring as as she was extremely ill. As an anchoress, a solitary, who is often pictured with her sole compainion, a cat, her books were the first to be written in England by a woman.\n\u003cbr\u003eI. \"I saw God....\"\n\u003cbr\u003eII. Something small\n\u003cbr\u003eIII. \"He is our clothing....\"\n\u003cbr\u003eIV. \"...in falling and rising...\"\n\u003cbr\u003eV. \"....so truly is God our Mother...\"\n\u003cbr\u003eVI. \"All will be well...\"\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059325148,"sku":"ACA-AUSE-009","price":28.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479059357916,"sku":"ACA-AUSE-009e","price":13.25,"currency_code":"USD","in_stock":true},{"title":"Physical - Score","offer_id":45479059390684,"sku":"ACA-AUSE-009s","price":17.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":45479059423452,"sku":"ACA-AUSE-009se","price":13.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-009se_Page_1.jpg?v=1722939878"},{"product_id":"austin-sonata-for-flute-or-soprano-recorder","title":"Sonata for Flute or Soprano Recorder","description":"\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\n\u003cp\u003eThe political upheavals during the time of the Gulf War (and sadly relevant over a decade later) may well have exerted a subconscious influence on this image of the first movement: A caged bird, beating its wings in desperation, sings all the while. In addition, one also hears a disjunct version of a nostalgic World War I (\"Ich hat' einen Kameraden\") song about a fallen comrade; this juxtaposition against the futile attempts at \"winged flight' provides, in essence, the duality of the sonata principle.\n\u003cbr\u003eThe variation treatment of the Gregorian chant, \"Alma redemptoris mater\" in the second movement deals with the cross-pollination of the arpeggiated major triad of the chant theme with freer lines. The fulcrum of this central movement yields to the concluding, persevering tonal phrase. The third movement is inspired by the Chinese proverb, \"Keep a green bough in your heart and a singing bird shall come\". A final catharsis is left open, however, as the flutist sings\/plays a phrase, hopefully questioning\"¦\"¦\"redemptoris\"\"¦\"¦, before the music breaks off.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059488988,"sku":"ACA-AUSE-020","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479059521756,"sku":"ACA-AUSE-020e","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-020e_Page_1.jpg?v=1724685228"},{"product_id":"austin-sonnets-from-the-portuguese","title":"Sonnets From the Portuguese","description":"","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059587292,"sku":"ACA-AUSE-021","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479059620060,"sku":"ACA-AUSE-021e","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-021e_Page_1.jpg?v=1722939894"},{"product_id":"austin-symphony-no-2-lighthouse","title":"Symphony No. 2 ('Lighthouse')","description":"\u003cp\u003eThis work represents an \"Adieux\" at the turn of the millenium, though its structural use of musicla quotes from European and American sources. 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