Uploaded September 2019 | Updated September 2026, 1 week ago
jwpepper.com/Travelin%27-Shoes/10980923.item
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled.
jwpepper.com/Travelin%27-Shoes/10980923.item
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled.
![Alex Weiser — and all the days were purple (2017) [w/ score]](https://i.ytimg.com/vi/P5DGaYS0fcw/mqdefault.jpg "Alex Weiser — and all the days were purple (2017) [w/ score]
A finalist for the 2020 Pulitzer Prize in Music, this is Alex Weisers haunting, absolutely gorgeous song cycle and all the days were purple for (soprano) voice, piano, percussion and string trio. Born and raised in New York City, Weiser composes cosmopolitan music that merges a deeply felt historical perspective with a vibrant, forward-looking creative pulse. An energetic advocate for contemporary classical music and for the work of his peers, Weiser co-founded and currently directs Kettle Corn New Music, and is Director of Public Programs at the YIVO Institute for Jewish Research.
Alex writes in the program notes:
Meditative and devotional in scope, and all the days were purple sets Yiddish and English poems to music in a song cycle that seeks out the divine while reflecting on the longing, beauty and tumult of life. The album includes texts by Anna Margolin, Edward Hirsch, Rachel Korn, and Abraham Sutzkever, and performances by Eliza Bagg (voice), Lee Dionne (piano), Maya Bennardo (violin), Hannah Levinson (viola), Hannah Collins (cello) and Michael Compitello (percussion).
COMPOSER: Alex Weiser
SOPRANO: Eliza Bagg
ENSEMBLE:
Lee Dionne, piano
Maya Bennardo, violin
Hannah Levinson, viola
Hannah Collins, cello
Mike Compitello, percussion
TRACKLIST:
0:00 - Introduction
0:25 - I. Mayn Glik (My Joy)
3:58 - II. *
8:02 - III. I Was Never Able to Pray
10:24 - IV. Benkshaft (Longing)
12:47 - V. Poezye (Poetry)
16:10 - VI. Lines for Winter
20:28 - VII. **
26:38 - VIII. Mir zaynen gegangen durkh teg (We Went Through the Days)
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
#scorefollower #contemporaryclassical #classicalmusic")
![Edie Hill — From the Wingbone of a Swan (2014) [w/ score]](https://i.ytimg.com/vi/Q17tGyJ-CnI/mqdefault.jpg "Edie Hill — From the Wingbone of a Swan (2014) [w/ score]
This is Edie Hills gorgeous work for SATB choir and a trio of flute, cello, and percussion, From the Wingbone of a Swan.
Hill wrote in the program notes for full context:
“I believe that possessing a musical sense is inherent to being human, and that human beings, from their very beginnings, were musical before they expressed themselves with formal language. We embody counterpoint in the most basic way by virtue of simultaneous voice and heartbeat. Thus the first movement: ‘Prelude to Speech.’ The poem itself is only a portion of what the listener hears. I use vocalisms and simple “calls” that ultimately lead to the words that are the poem. The cello and drum accompany this movement. I chose the cello because it is the instrument that is most like the human voice. The ‘shape’ of the movement is a gradual transition from pure sound and melody to language – a discovery of speech through music. Flowing directly out of newly-found speech is ‘Source.’ When I gave a lecture about the origins of music at Delft University, I made reference to an ‘underground river.’ To me, music is born from this so-called river. The river is the source that is tapped and from it comes music that is as basic as water is to human beings. It IS life blood. And it is always there – now – then. It is a constant that connects us all. Finally, I believe that instruments (such as a flute) are extensions of the human voice. We make them so that we can “sing” in ways beyond the physical constraints of the human voice – so that we can sing in all manner of timbers, dynamics, and ranges. I was inspired by an article entitled ‘Magic Flute: Primal Find Sings of Music’s Mystery’ by Robert Lee Holtz, which appeared in a 2008 edition of the Wall Street Journal. The article talks about ‘the discovery of the world’s oldest musical instrument – a 35,000 year-old flute made from a (swan’s) wing bone.’ I thought, ‘what a beautiful thing!’ – a flute made from the wingbone of a swan. In this movement, I wanted to conjure imagery of this ancient instrument, and again, draw attention to music as a thread that connects us as human beings in ancient times and in the present moment. As a way of conveying progression, I add instruments movement by movement. The cello and drum accompany the first. In the second movement, marimba is added. The sound of the marimba adds a texture that conjures water and flow. And in the third, the flute joins the texture. It is the ‘Breath of Silver,’ the ‘Ribbon of Light.’”
COMPOSER: Edie Hill
POETS: Edie Hill & Tim O’Brien
CONDUCTOR: Donald Nally
CHOIR: The Crossing
ENSEMBLE:
Ted Babcock, percussion
Arlen Hlusko, cello
Mimi Stillman, flute
TRACKLIST:
0:00 - Introduction
0:15 - I. Prelude to Speech
4:04 - II. Source
10:05 - III. Paleolithic Flute
TEXTS:
————————————
(I. Prelude to Speech)
say:
I know
say:
I feel
say:
I am
————————————
(II. Source)
beneath me, a river
unseen
under skin of stone
earth blood
infusion of gold
in body of human
always
and now
gently
persuaded
to sing
————————————
(III. Paleolithic Flute)
from the wing bone of a swan:
music
breath of silver
ribbon of light
from the wingbone of a swan:
music
`ancient as stone
present as living
flesh on bone
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
#scorefollower #contemporaryclassical #classicalmusic")
![Stephen Michael Gryc — Evensong (2000) [w/ score]](https://i.ytimg.com/vi/RjkxJwB3VK4/mqdefault.jpg "Stephen Michael Gryc — Evensong (2000) [w/ score]
This is Stephen Michael Gryc’s beautiful “Evensong” for solo trumpet and wind ensemble (score shown here is the piano reduction), commissioned and performed here by former Principal Trumpet of the New York Philharmonic, Philip Smith, and the University of New Mexico Wind Symphony. Gryc writes in the program notes:
“Evensong was commissioned by trumpeter Philip Smith and the University of New Mexico Wind Symphony, Eric Rombach-Kendall conductor. The work was started in August of 1999 and completed in January of 2000. The commissioning artists premiered Evensong on April 18, 2000 in Albuquerque. The piece is dedicated to the memory of my father-in-law, publisher Robert King, who died at the age of 85 after a lifetime of invaluable service to the worldwide community of brass players. Evensong is the English name for the church service celebrated shortly before sunset and may also mean any song sung in the evening. The work uses two ancient church modes, dorian and mixolydian. The dorian mode is based on the pitch D, but the mixolydian mode is transposed from its usual base of G up to A flat. The diminished fifth interval between D and A flat is the source of harmonic tension and richness as well as harmonic motion in the work. The piece ends with repeated cadences on Ab by the low brass while the solo trumpet, flutes, and bells reiterate D. The elegiac character of Evensong demonstrates the lyricism of which the trumpet is capable and, more particularly, the great artistry of Philip Smith.”
COMPOSER: Stephen Michael Gryc
TRUMPET: Philip Smith
BAND: University of New Mexico Wind Symphony
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
#scorefollower #contemporaryclassical #classicalmusic")
