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Perfume from my Garden

On the Road to Mandalay : from Barrack-Room Ballads

On the Road to Mandalay : from Barrack-Room Ballads

Gnothi Safton : Know Thyself

Commissioned by the “Cantare” division of The Young People's Chorus of New York City, composer Jim Papoulis raises the profile of Boomwhackers out of the elementary classroom and on to the concert stage. With an original, inspirational text that urges young people to “know thyself”, “seek beauty, freedom and justice” and “celebrate virtue, prudence, courage and life” this is the song that your chorus will ask for every day before they leave the choir room.

Keltic Variations

The themes in Keltic Variations are based in the style of the sea chanteys that were sung and taught by rote to sailors in northwestern Europe. This composition is written for students at the middle school and high school level, and its purpose is to introduce simple theme and variations. I normally resist approaching the composisiton of a piece from an educational standpoint, but my ideas for Keltic Variations felt more like teaching tools than anything else. After I finished it, I believed I had found a balance between a piece that falls well on audiences' ears but also can serve as a music lesson in the rehearsal room.

Keltic Variations

The themes in Keltic Variations are based in the style of the sea chanteys that were sung and taught by rote to sailors in northwestern Europe. This composition is written for students at the middle school and high school level, and its purpose is to introduce simple theme and variations. I normally resist approaching the composisiton of a piece from an educational standpoint, but my ideas for Keltic Variations felt more like teaching tools than anything else. After I finished it, I believed I had found a balance between a piece that falls well on audiences' ears but also can serve as a music lesson in the rehearsal room.

Composing In The Classroom Op.2 : Opus 2

Creativity, participation and enjoyments are the key words of Composing In The Classroom, Opus 1 & 2. They provide a variety of ways in which your class can approach composition. Clear explanations and inventive suggestions help to involve everybody in the excitement of musical discovery.Mostly you will need easy-to-play classroom instruments, but there is plenty of room for orchestral and keyboard players as well. Some sections can be undertaken with no instruments at all.Most of the activities are self-contained. You can use some or all of them, in any order. Pick and choose as you like: this is a source, not a course.Opus 1 is suitable for classes of 9-11 year olds, andnon-specialist music teachers will find material easy to follow and fun to explore. Slightly older pupils may be able to approach the projects without the teacher's supervision.Opus 2 is suitable for 12-13 year olds and will provide a useful background in Music GCSE.To complete a real sense of achievement, try recording or writing down the music which your class has composed!

Composing In The Classroom : Opus 1

Creativity, participation and enjoyments are the key words of Composing In The Classroom, Opus 1 & 2. They provide a variety of ways in which your class can approach composition. Clear explanations and inventive suggestions help to involve everybody in the excitement of musical discovery.Mostly you will need easy-to-play classroom instruments, but there is plenty of room for orchestral and keyboard players as well. Some sections can be undertaken with no instruments at all.Most of the activities are self-contained. You can use some or all of them, in any order. Pick and choose as you like: this is a source, not a course.Opus 1 is suitable for classes of 9-11 year olds, andnon-specialist music teachers will find material easy to follow and fun to explore. Slightly older pupils may be able to approach the projects without the teacher's supervision.Opus 2 is suitable for 12-13 year olds and will provide a useful background in Music GCSE.To complete a real sense of achievement, try recording or writing down the music which your class has composed!

Brooklyn Bridge

Michael Daugherty about Brooklyn Bridge:Designed by John Roebling (1806-1869), the BrooklynBridge endures as the most admired and best-loved bridge in New York City. After the opening of the bridge to the public in 1883, Harper's Monthly reported, The wise man will not cross the bridge in five minutes, nor in twenty. He will linger to get the good of the splendid view about him. As I have lingered and walked across the BrooklynBridge over the years, the stunning vistas of the New York skyline have inspired me to compose a panoramic clarinet concerto.Like the four cables of webs of wire and steel that hold the BrooklynBridge together, my ode to this cultural icon is divided intofour movements. Each movement of the clarinet concerto is a musical view from the BrooklynBridge:I. East: Brooklyn and BrooklynHeightsII. South: Statue of LibertyIII. West: Wall Street and the lower Manhattan skyline which once was dominated by the WorldTradeTowersIV. North: EmpireStateBuilding, ChryslerBuilding, and RockefellerCenterIn the final movement of the concerto, I also imagine Artie Shaw, the great jazz swing clarinettist of the 1940s, performing with his orchestra in the once glorious Rainbow Room on the sixty-fifth floor of the RockefellerCenter.

Brooklyn Bridge

Michael Daugherty about Brooklyn Bridge:Designed by John Roebling (1806-1869), the BrooklynBridge endures as the most admired and best-loved bridge in New York City. After the opening of the bridge to the public in 1883, Harper's Monthly reported, The wise man will not cross the bridge in five minutes, nor in twenty. He will linger to get the good of the splendid view about him. As I have lingered and walked across the BrooklynBridge over the years, the stunning vistas of the New York skyline have inspired me to compose a panoramic clarinet concerto.Like the four cables of webs of wire and steel that hold the BrooklynBridge together, my ode to this cultural icon is divided intofour movements. Each movement of the clarinet concerto is a musical view from the BrooklynBridge:I. East: Brooklyn and BrooklynHeightsII. South: Statue of LibertyIII. West: Wall Street and the lower Manhattan skyline which once was dominated by the WorldTradeTowersIV. North: EmpireStateBuilding, ChryslerBuilding, and RockefellerCenterIn the final movement of the concerto, I also imagine Artie Shaw, the great jazz swing clarinettist of the 1940s, performing with his orchestra in the once glorious Rainbow Room on the sixty-fifth floor of the RockefellerCenter.