{"title":"Orchestra","description":"","products":[{"product_id":"blake-prelude-to-the-opera-orchestral","title":"BLAKE - Prelude to the opera (Orchestral)","description":"","brand":"H. Leslie Adams","offers":[{"title":"Physical","offer_id":45438391386332,"sku":"ACA-ADHL-116s","price":45.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ADHL-116se_Page_1.jpg?v=1721648141"},{"product_id":"citiscape-lights-concerto-for-piano-and-orchestra","title":"CITISCAPE LIGHTS: Concerto for Piano","description":"\u003cp\u003eConcerto for Piano (1968) was revised by the composer and edited by the composer and Mark Thome for publication in 2024 as Citiscape Lights.\u003c\/p\u003e\n\u003cp\u003eThe piano concerto was composed in an idiom which treats jazz rhythms in a symphonic format. In the first movement, a perpetual motion pulsates in the piano part. A second theme in a more lyrical vein is first introduced by the winds and later elaborated in the piano part. The two themes are recapitulated until the piano takes the field with an extended cadenza in which the motor action of the first theme prevails. The orchestra reenters with a triumphant restatement of the lyrical theme.\u003c\/p\u003e\n\u003cp\u003eSeveral instruments in the orchestra share the spotlight with the piano in the slow movement which is purely melodious and wistful. There follows without a pause a rhythmical introduction to the third movement in which jazz characteristics are even more dominant an in which cross rhythms abound. In the contrasting middle section, the jazz elements become more discreet but never disappear. A somewhat abbreviated recapitulation leads to a terse coda consisting of a few bars of hesitation and a few more of exuberance - a question mark and an exclamation point juxtaposed. The preparation of Citiscape was made possible in part by a grant from the University of Kansas General Research Fund.\u003c\/p\u003e\u003cp\u003eBased on 1968 Concerto for Piano and Orchestra.\u003c\/p\u003e\n\n\u003cp\u003eThe 2024 edition of Citiscape Lights Concerto for Piano and Orchestra by H. Leslie Adams was made with reference to several earlier documents, including scores from pianist Richard Reber, who gave the premiere in 1976, the composer's own expanded and revised versions from the 1980s, a set of engraved files done by a copyist in 2005 but never fully completed, versions from the ACA archives, and in consultations with the composer during 2020-21. The editor of the 2024 edition, Mark Thome, has an extensive composing\/arranging background in jazz and popular music. He addressed ambiguities in the various versions and worked closely with the composer to resolve notational issues, phrasing marks, and balance, with instructions provided by the composer, with the goal of highlighting the sound of the piano more clearly in the textures.\u003c\/p\u003e\n\n\u003cp\u003eIt is ACA's great privilege to offer this new score to the world on behalf of the wonderful composer and pianist Dr. H. Leslie Adams.\u003c\/p\u003e\n\n\u003cp\u003eNote:\u003cbr\u003e\nPercussion 1:  Snare Drum, Mark Tree, Shaker\u003cbr\u003e\nPercussion 2:  Suspended Cymbal, Tambourine, Triangle, Crash Cymbals, Tam-tam\u003cbr\u003e\nPercussion 3:  Xylophone, Bells, Wood Block, Vibraphone, Marimba\u003c\/p\u003e","brand":"H. Leslie Adams","offers":[{"title":"Physical","offer_id":45438391877852,"sku":"ACA-ADHL-028s","price":197.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46598132859100,"sku":"ACA-ADHL-028se","price":146.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ADHL-028se_Page_1.jpg?v=1721648199"},{"product_id":"dunbar-songs-orchestrated-version","title":"DUNBAR SONGS (Orchestrated)","description":"\u003cp\u003e1\/22\/81 DUNBAR SONGS. Janet Alcorn, soprano. The Ohio Chamber Orchestra, Dwight Oltman, conductor. Fanny Nast Gamble Auditorium, Baldwin Wallace College; Berea, OH.\n\u003cbr\u003e02\/28\/82 \"The Meadow Lark\" from DUNBAR SONGS. Alpha Floyd, soprano. The American Symphony Orchestra. Margaret Harris, conductor. Chruch of the Intercession, New York, NY.\n\u003cbr\u003eHigh voice version of movement I. The Meadow Lark available for full orchestra:\n\u003cbr\u003e2222 4031 percussion; strings; high voice\u003c\/p\u003e","brand":"H. Leslie Adams","offers":[{"title":"Physical","offer_id":45438392795356,"sku":"ACA-ADHL-058s","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ADHL-058se_Page_1.jpg?v=1721648233"},{"product_id":"hymn-to-freedom-sop-ten-bbar-solo-plus-10-players","title":"Hymn to Freedom (Soloists with orchestra)","description":"\u003cp\u003eCommissioned by the Center for Black Music Research, Chicago.\u003c\/p\u003e","brand":"H. 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The first part, subtitled Love Waltz, is marked Allegro grazioso, and has broad ABCBA structure in 3\/4 meter, utilizing a sustained melodic theme underscored by a lilting waltz rhythm in the A and B sections, and a more marked rhythmic theme in the contrasting C section. Love Waltz is an orchestration of the 2nd movement of the Adams Empire Sonata for Horn and Piano. \n\u003cbr\u003eThe second part, subtitled Love Ballad, has a tempo marking, Largo cantabile, and is in a broad three-part form with coda. Soft strings accompanying a lyrical saxophone solo begin the A section, after which the melody is heard in the first violins. The B section has a blues-like theme, underscored by light percussion, which grows in intensity before subsiding back to the A theme, now sounded by the French horn. A codetta based on the A material ends the movement on a sustained note.\u003c\/p\u003e","brand":"H. 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The second section (Allegro moderato) introduces a two-part theme which recurs throughout the work, at first combined with the previous material, then gaining independence.\u003c\/p\u003e\n\u003cp\u003eThe third section (Moderato, con vivo) consists of four parts: 1) an energetic fugato played by the strings, followed by a secondary theme sounded first by the trumpet and oboe, then by the horns; 2) motivic development from the immediately preceding material heard in the brasses and strings, then in the full orchestra; 3) a brief lento passage continuously developing and 4) the return of the fugato, this time sounding in the woodwinds, then joined by the strings, percussion and brasses, bringing the work to a triumphant close.\u003c\/p\u003e\n\u003cp\u003eConcert Overture, rev version from 1985. \u003c\/p\u003e\n\u003cp\u003eLeslie Adams' Ode to Life was commissioned by the Cuyahoga Community College of Cleveland on the occasion of its 15th anniversary. \u003c\/p\u003e","brand":"H. 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A playful main theme is first introduced in the strings, then winds, and set apart by several fugato passages before the full orchestra joins in echoing the melody. In the mid-section, the theme takes on an expanded quality, played by several combinations of solo and ensemble groupings. These thematic re-statements become increasingly more fragmented and complex and, after reaching an energetic peak, their density subsides and a transition leads to the return of the original spirited style, bringing this 6-minute movement to a joyful close.\u003c\/p\u003e\n\u003cp\u003eThe forth movement is a l7-minute broad sonata-allegro design in which several themes are developed and recapitulated, concluding with a brief recurring theme from the first movement, bringing the entire symphony to a majestic conclusion.\u003c\/p\u003e","brand":"H. 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Anderson.\u003c\/p\u003e\n\n\u003cp\u003eNo. 27 is the finale of Treemonisha opera.\u003c\/p\u003e\n\n\u003cp\u003eOrchestration: T.J. Anderson\u003c\/p\u003e\n\n\u003cp\u003eThe first fully staged performance of the Scott Joplin opera was given on January 28, 1972 at Morehouse College, in a production staged by Katherine Dunham and conducted by Robert Shaw, with orchestrations by T.J. Anderson. This production received fine notices, and brought Treemonisha to international attention.\u003c\/p\u003e\n\n\u003cp\u003ePremiere information:\n\u003cbr\u003eConductor: Robert Shaw \n\u003cbr\u003eEditors: T.J. Anderson \u0026amp; William Bolcom \n\u003cbr\u003eWendell Whalum, Chorus Director \n\u003cbr\u003eKatherine Dunham, Stage Director\n\u003cbr\u003ePremiere featured cast members: Alpha Floyd, Simon Estes, Seth McCoy, Louise Parker, Joseph Bias, the African-American Workshop of Morehouse College, and the Atlanta Symphony Orchestra; Score and parts available from American Composers Alliance; Recording of this performance with interviews available to NPR stations through satellite, 2000.\u003c\/p\u003e\n\n\u003cp\u003eOn January 30, 1972 The New York Times published a review by Harold C. Schonberg: \"In writing 'Treemonisha' - the libretto was his own -- Joplin clearly intended to author a social as well as musical document. He set up the forces of ignorance and superstition against liberalism and education represented by a young lady named Treemonisha.\" \"Morehouse College, aided by a Rockefeller grant, gave 'Treemonisha' an ambitious performance.\u003c\/p\u003e\n\n\u003cp\u003eThomas J. Anderson, a visiting professor at the college, orchestrated the opera in a style that follows the one example of Joplin's orchestration that has come down to us. \"The opera concludes with 'A Real Slow Drag.' Schonberg writes: \"This slow drag is amazing. Harmonically enchanting, full of the tensions of an entire race, rhythmically catching, it refuses to leave the mind. Talk about soul music!\"\u003c\/p\u003e\n\n\u003cp\u003eScores\/ rental parts available from ACA;\n\u003cbr\u003eVocal scores also available for purchase;\n\u003cbr\u003eOverture inst: fl, ob, cl, bsn, hn, cornet, tbn, tba, drumset, piano, 5-part strings;\u003c\/p\u003e\n\n\u003cp\u003eFull opera incl overture: fl\/pic, ob, cl, bsn, hn, cornet\/tpt in Bb, tbn, tba, drumset, piano, strings\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45445805179100,"sku":"ACA-ANTJ-032","price":43.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45445805211868,"sku":"ACA-ANTJ-032e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ANTJ-032e_Page_1.jpg?v=1721840610"},{"product_id":"treemonisha-overture","title":"Treemonisha: Overture","description":"\u003cp\u003eWords and music by Scott Joplin. Adapted, arranged, and orchestrated by T.J. 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It recontextualizes several passages of \"Farewell Processes,\" a string orchestra piece I wrote in 2017 which was in turn based on motives from Beethoven's \"Les Adieux\" sonata. My friend and colleague Jacob Harrison asked me to write a piece that could be performed either in a traditional format or recorded remotely, as the situation with Coronavirus made planning for the 2020-21 season highly uncertain. Some aspects of the piece are basically open; repeated figures are played within predetermined time brackets.\u003c\/p\u003e\n\u003cp\u003eThe piece may be performed as in person (as an ensemble) or remotely, with or without a conductor. A stopwatch will be required if recording in isolation. When performing as an ensemble, the conductor should be the only one with a stopwatch. Alternatively, if performed as an ensemble but without a conductor, each performer will need a stopwatch, or a master clock may be positioned in a location where the orchestra can clearly see it.\u003c\/p\u003e\n\u003cstyle type=\"text\/css\"\u003e\u003c!--td {border: 1px solid #cccccc;}br {mso-data-placement:same-cell;}--\u003e\u003c\/style\u003e\n\u003cp\u003e\u003cspan data-sheets-root=\"1\"\u003eDedicated to the Texas State University Symphony Orchestra - Dr. Jacob Harrison, Director.\u003c\/span\u003e\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical","offer_id":45479049232604,"sku":"ACA-ARDA-022s","price":19.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-022e_Page_1_9cb71194-d991-4022-8a1a-5a9f6c982b14.jpg?v=1722878401"},{"product_id":"ardizzoia-suite-bergamasque","title":"Suite Bergamasque","description":"\u003cp\u003e\u003cstrong\u003eOrchestrator's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebussy composed the \u003cem\u003eSuite Bergamasque\u003c\/em\u003e for solo piano around 1890 and revised the work in 1905. One hundred and eleven years later, in 2016, Jacob Harrison asked me to make a transcription of \u003cem\u003eClair de Lune\u003c\/em\u003e \"the most famous of the suite's four movements\" for that year's Iowa All-State Honor Orchestra, which he was to conduct. I knew \u003cem\u003eClair de Lune\u003c\/em\u003e (who doesn't?) but I wasn't familiar with the other movements of the the suite. I was pleasantly surprised that they also seemed to possess certain orchestral qualities, and I offered to transcribe the Prelude for Jacob as a companion to \u003cem\u003eClair\u003c\/em\u003e. In the back of my mind, I tucked away the idea of completing the suite. It took several years, but I finished the complete S\u003cem\u003euite Bergamasque\u003c\/em\u003e in 2022 on a commission from Jacob (at Texas State University) and Kayoko Dan (Sam Houston State University). Jacob conducted the premiere of the complete, final version in February, 2023.\u003c\/p\u003e\n\u003cp\u003eImportant questions arise for anyone attempting to orchestrate the best-known piano work of an equally famous composer. To what extent are details such as phrase markings, dynamics, and register to be retained? How much should the new version be influenced by Debussy's own ingenious and novel orchestral writing? In the end, I hope I was able to capture a certain amount of \"Debussyan\" atmosphere, while allowing myself some leeway to tastefully translate pianistic material into a new idiom. As with all good music, the inherent quality of this work transcended its medium, and these lovely showpieces for orchestra emerged.\u003c\/p\u003e\n\u003cp\u003eI am grateful to my dear friend Jacob for the very useful help he provided in editing the score.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical","offer_id":45479051460828,"sku":"ACA-ARDA-033s","price":114.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":46598218023132,"sku":"ACA-ARDA-033se","price":86.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/11X17-2022Newcover.jpg?v=1744750296"},{"product_id":"ardizzoia-suite-bergamasque-1-prelude","title":"Suite Bergamasque - 1. Prelude","description":"\u003cp\u003e\u003cstrong\u003eOrchestrator's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebussy composed the \u003cem\u003eSuite Bergamasque\u003c\/em\u003e for solo piano around 1890 and revised the work in 1905. One hundred and eleven years later, in 2016, Jacob Harrison asked me to make a transcription of \u003cem\u003eClair de Lune\u003c\/em\u003e \"the most famous of the suite's four movements\" for that year's Iowa All-State Honor Orchestra, which he was to conduct. I knew \u003cem\u003eClair de Lune\u003c\/em\u003e (who doesn't?) but I wasn't familiar with the other movements of the the suite. I was pleasantly surprised that they also seemed to possess certain orchestral qualities, and I offered to transcribe the Prelude for Jacob as a companion to \u003cem\u003eClair\u003c\/em\u003e. In the back of my mind, I tucked away the idea of completing the suite. It took several years, but I finished \u003ca href=\"https:\/\/composers.com\/products\/ardizzoia-suite-bergamasque\" target=\"_blank\" rel=\"noopener\"\u003ethe complete S\u003cem\u003euite Bergamasque\u003c\/em\u003e\u003c\/a\u003e in 2022 on a commission from Jacob (at Texas State University) and Kayoko Dan (Sam Houston State University). Jacob conducted the premiere of the complete, final version in February, 2023.\u003c\/p\u003e\n\u003cp\u003eImportant questions arise for anyone attempting to orchestrate the best-known piano work of an equally famous composer. To what extent are details such as phrase markings, dynamics, and register to be retained? How much should the new version be influenced by Debussy's own ingenious and novel orchestral writing? In the end, I hope I was able to capture a certain amount of \"Debussyan\" atmosphere, while allowing myself some leeway to tastefully translate pianistic material into a new idiom. As with all good music, the inherent quality of this work transcended its medium, and these lovely showpieces for orchestra emerged.\u003c\/p\u003e\n\u003cp\u003eI am grateful to my dear friend Jacob for the very useful help he provided in editing the score.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical - Score","offer_id":45479051526364,"sku":"ACA-ARDA-029s","price":42.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-029e_Page_5_e91c9ff9-6be8-4d60-80d8-0a8fa86806be.jpg?v=1722878291"},{"product_id":"ardizzoia-suite-bergamasque-2-menuet","title":"Suite Bergamasque - 2. Menuet","description":"\u003cp\u003e\u003cstrong\u003eOrchestrator's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebussy composed the \u003cem\u003eSuite Bergamasque\u003c\/em\u003e for solo piano around 1890 and revised the work in 1905. One hundred and eleven years later, in 2016, Jacob Harrison asked me to make a transcription of \u003cem\u003eClair de Lune\u003c\/em\u003e \"the most famous of the suite's four movements\" for that year's Iowa All-State Honor Orchestra, which he was to conduct. I knew \u003cem\u003eClair de Lune\u003c\/em\u003e (who doesn't?) but I wasn't familiar with the other movements of the the suite. I was pleasantly surprised that they also seemed to possess certain orchestral qualities, and I offered to transcribe the Prelude for Jacob as a companion to \u003cem\u003eClair\u003c\/em\u003e. In the back of my mind, I tucked away the idea of completing the suite. It took several years, but I finished \u003ca href=\"https:\/\/composers.com\/products\/ardizzoia-suite-bergamasque\" rel=\"noopener\" target=\"_blank\"\u003ethe complete S\u003cem\u003euite Bergamasque\u003c\/em\u003e\u003c\/a\u003e in 2022 on a commission from Jacob (at Texas State University) and Kayoko Dan (Sam Houston State University). Jacob conducted the premiere of the complete, final version in February, 2023.\u003c\/p\u003e\n\u003cp\u003eImportant questions arise for anyone attempting to orchestrate the best-known piano work of an equally famous composer. To what extent are details such as phrase markings, dynamics, and register to be retained? How much should the new version be influenced by Debussy's own ingenious and novel orchestral writing? In the end, I hope I was able to capture a certain amount of \"Debussyan\" atmosphere, while allowing myself some leeway to tastefully translate pianistic material into a new idiom. As with all good music, the inherent quality of this work transcended its medium, and these lovely showpieces for orchestra emerged.\u003c\/p\u003e\n\u003cp\u003eI am grateful to my dear friend Jacob for the very useful help he provided in editing the score.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical - Score","offer_id":45479051624668,"sku":"ACA-ARDA-031s","price":52.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-031e_Page_1_b5108a7d-adb2-4a6d-a0c0-064d1bfcc30a.jpg?v=1722878310"},{"product_id":"ardizzoia-suite-bergamasque-3-clair-de-lune","title":"Suite Bergamasque - 3. Clair de Lune","description":"\u003cp\u003e\u003cstrong\u003eOrchestrator's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebussy composed the \u003cem\u003eSuite Bergamasque\u003c\/em\u003e for solo piano around 1890 and revised the work in 1905. One hundred and eleven years later, in 2016, Jacob Harrison asked me to make a transcription of \u003cem\u003eClair de Lune\u003c\/em\u003e \"the most famous of the suite's four movements\" for that year's Iowa All-State Honor Orchestra, which he was to conduct. I knew \u003cem\u003eClair de Lune\u003c\/em\u003e (who doesn't?) but I wasn't familiar with the other movements of the the suite. I was pleasantly surprised that they also seemed to possess certain orchestral qualities, and I offered to transcribe the Prelude for Jacob as a companion to \u003cem\u003eClair\u003c\/em\u003e. In the back of my mind, I tucked away the idea of completing the suite. It took several years, but I finished \u003ca href=\"https:\/\/composers.com\/products\/ardizzoia-suite-bergamasque\" rel=\"noopener\" target=\"_blank\"\u003ethe complete S\u003cem\u003euite Bergamasque\u003c\/em\u003e\u003c\/a\u003e in 2022 on a commission from Jacob (at Texas State University) and Kayoko Dan (Sam Houston State University). Jacob conducted the premiere of the complete, final version in February, 2023.\u003c\/p\u003e\n\u003cp\u003eImportant questions arise for anyone attempting to orchestrate the best-known piano work of an equally famous composer. To what extent are details such as phrase markings, dynamics, and register to be retained? How much should the new version be influenced by Debussy's own ingenious and novel orchestral writing? In the end, I hope I was able to capture a certain amount of \"Debussyan\" atmosphere, while allowing myself some leeway to tastefully translate pianistic material into a new idiom. As with all good music, the inherent quality of this work transcended its medium, and these lovely showpieces for orchestra emerged.\u003c\/p\u003e\n\u003cp\u003eI am grateful to my dear friend Jacob for the very useful help he provided in editing the score.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical - Score","offer_id":45479051722972,"sku":"ACA-ARDA-020s","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-020e_Page_2_452736e2-7049-40c0-827f-f86ac383797f.jpg?v=1722878326"},{"product_id":"ardizzoia-suite-bergamasque-4-passepied","title":"Suite Bergamasque - 4. Passepied","description":"\u003cp\u003e\u003cstrong\u003eOrchestrator's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDebussy composed the \u003cem\u003eSuite Bergamasque\u003c\/em\u003e for solo piano around 1890 and revised the work in 1905. One hundred and eleven years later, in 2016, Jacob Harrison asked me to make a transcription of \u003cem\u003eClair de Lune\u003c\/em\u003e \"the most famous of the suite's four movements\" for that year's Iowa All-State Honor Orchestra, which he was to conduct. I knew \u003cem\u003eClair de Lune\u003c\/em\u003e (who doesn't?) but I wasn't familiar with the other movements of the the suite. I was pleasantly surprised that they also seemed to possess certain orchestral qualities, and I offered to transcribe the Prelude for Jacob as a companion to \u003cem\u003eClair\u003c\/em\u003e. In the back of my mind, I tucked away the idea of completing the suite. It took several years, but I finished \u003ca href=\"https:\/\/composers.com\/products\/ardizzoia-suite-bergamasque\" rel=\"noopener\" target=\"_blank\"\u003ethe complete S\u003cem\u003euite Bergamasque\u003c\/em\u003e\u003c\/a\u003e in 2022 on a commission from Jacob (at Texas State University) and Kayoko Dan (Sam Houston State University). Jacob conducted the premiere of the complete, final version in February, 2023.\u003c\/p\u003e\n\u003cp\u003eImportant questions arise for anyone attempting to orchestrate the best-known piano work of an equally famous composer. To what extent are details such as phrase markings, dynamics, and register to be retained? How much should the new version be influenced by Debussy's own ingenious and novel orchestral writing? In the end, I hope I was able to capture a certain amount of \"Debussyan\" atmosphere, while allowing myself some leeway to tastefully translate pianistic material into a new idiom. As with all good music, the inherent quality of this work transcended its medium, and these lovely showpieces for orchestra emerged.\u003c\/p\u003e\n\u003cp\u003eI am grateful to my dear friend Jacob for the very useful help he provided in editing the score.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical - Score","offer_id":45479051821276,"sku":"ACA-ARDA-032s","price":46.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-032e_Page_1_01520199-5a33-471a-a93f-eb96ba16396d.jpg?v=1722878337"},{"product_id":"ardizzoia-this-primordial-threatening-noise","title":"This primordial, threatening noise...","description":"\u003cp\u003eComposer's Note:\u003c\/p\u003e\n\n\u003cp\u003e\"This primordial, threatening noise\"¦\" was commissioned a program that also included Stravinsky's Symphonies of Wind Instruments and Kancheli's Magnum Ignotum. Like those two pieces, my work also takes a sacred musical tradition then obscures and abstracts via the compositional process. In this case the hymn tune Nearer, my God, to thee is chopped up, reordered, reharmonized, and otherwise subverted until it is barely discernible.\u003c\/p\u003e","brand":"Andrew Ardizzoia","offers":[{"title":"Physical - Score","offer_id":45479051919580,"sku":"ACA-ARDA-021s","price":39.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ARDA-021e_Page_1_b1b0a10f-9d27-40bb-bbf5-63e6b76b87e4.jpg?v=1722878347"},{"product_id":"arel-short-piece-for-orchestra","title":"SHORT PIECE FOR ORCHESTRA","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-sheets-root=\"1\"\u003eCommissioned by the New Haven Symphony.\u003c\/span\u003e\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479053721820,"sku":"ACA-AREL-010","price":60.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AREL-010e_Page_1.jpg?v=1722891049"},{"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. A lighthouse as a metaphoric beacon provides the program for the first movement. The second movement is Burlesque on a theme by Johann Stamitz (The composer honors Mannheim through the usage; she returns to Mannheim each spring.) An Elegia concludes the work, with the radiant lighthouse ance more brought to mind in an incantation.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479059849436,"sku":"ACA-AUSE-046","price":0.0,"currency_code":"USD","in_stock":true}]},{"product_id":"austin-wilderness-symphony-symph-no-1","title":"WILDERNESS SYMPHONY (SYMPH No. 1)","description":"\u003cp\u003eAs we approached the end of the 20th century, infamous for its animalistic explosions of violence, the lurid chill of Carl Sandburg's menagerie seemed quite relevent. Six character variations evolve out of the introductory landscape, as each animal emerges from our psychological 'zoo'.\u003c\/p\u003e\n\n\u003cp\u003eThe Petroushka quotes suggest a similar life force--pent up, yet threatening to bust out.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479061192924,"sku":"ACA-AUSE-040","price":96.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AUSE-040e_Page_1.jpg?v=1722939961"},{"product_id":"avshalomova-buddha-and-the-five-planetary-deities-a-chinese-pantomime-ballet","title":"Buddha and the Five Planetary Deities - a Chinese Pantomime Ballet","description":"","brand":"Aaron Avshalomov","offers":[{"title":"Physical","offer_id":45479061323996,"sku":"ACA-AVSA-002r","price":49.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45479061356764,"sku":"ACA-AVSA-002re","price":16.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AVSA-002re_Page_1_115c0eff-9504-472f-96c4-3be5cf7e8d40.jpg?v=1722946392"},{"product_id":"avshalomova-four-biblical-tableaux","title":"FOUR BIBLICAL TABLEAUS","description":"","brand":"Aaron Avshalomov","offers":[{"title":"Physical - Score","offer_id":45479061586140,"sku":"ACA-AVSA-003s","price":48.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AVSA-003e_Page_1.jpg?v=1733514484"},{"product_id":"avshalomova-incense-shadows-the-dream-of-wei-lin","title":"INCENSE SHADOWS (THE DREAM OF WEI LIN)","description":"\u003cp\u003eBallet Pantomime in 3 Acts; Full Study score (orchestra); Piano score; Set of Parts available at ACA\u003c\/p\u003e","brand":"Aaron Avshalomov","offers":[{"title":"Physical - Study score","offer_id":45479061848284,"sku":"ACA-AVSA-014","price":263.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Study score","offer_id":45479061881052,"sku":"ACA-AVSA-014e","price":30.95,"currency_code":"USD","in_stock":true},{"title":"Physical - Piano reduction score","offer_id":45479061913820,"sku":"ACA-AVSA-014r","price":92.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Piano reduction score","offer_id":45479061946588,"sku":"ACA-AVSA-014re","price":20.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-AVSA-014e_Page_1_cf3e5072-41ab-4b35-8a29-f6268be9d278.jpg?v=1722946459"},{"product_id":"avshalomova-peiping-hutungs-symphonic-poem","title":"PEIPING HUTUNGS (Symphonic Poem)","description":"\u003cp\u003e\u003cem\u003eTitle translation: \"Lanes of Beijing\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePeking Hutungs \u003c\/em\u003e(which could be rendered as \"Peking byway\") was composed in 1931 and is a tonal evocation of street sounds from dawn to dusk. 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