{"title":"MUSIC (all)","description":"","products":[{"product_id":"gustave-le-gray","title":"Gustave Le Gray","description":"\u003cp\u003efor solo piano\u003c\/p\u003e\n\u003cp\u003ewritten for Amy J. Yang | premiered at Princeton University, May 2012\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eChopin’s opus 17 A minor Mazurka is exquisite. The opening alone contains a potent poetic balance between the viscosity and density of the descending harmonic progression and the floating onion skin of the loose, chromatic melody above. Or, in fewer words – it’s very prosciutto and mint. When someone asks me, “So what is your music like?” – I’ll sometimes answer (depending on who’s asking), “Kind of like sashimi?” That is, it’s often made of chords and sequences presented in their raw, naked, preciously unadorned state – vividly fresh and new, yet utterly familiar. Chopin is a different type of chef. He covers much more harmonic real estate than I do, and his sequences are more varied and inventive. He weaves a textured narrative through his harmony that takes you through different characters and landscapes, whereas I’d sometimes be happy listening to a single well-framed, perfectly voiced triad. But the frame is the hard part – designing the perfectly attuned and legible internal system of logic and memory that is strong but subtle enough to support an authentic emotional experience of return. (Not to get all Proustian or anything.) In some way that I can’t really understand or articulate yet, photographs can do this with a remarkable economy of means. Translating that elusive syntax into music is an interesting challenge. Then again, sometimes music is just music. Gustave Le Gray is a multi-layered portrait of Op. 17 #4 using some of Chopin’s ingredients overlaid and hinged together with my own. It was written expressly for pianist Amy Yang, who is one of the truest artists I’ve ever met.\u003c\/span\u003e\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"Default Title","offer_id":369996423,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/legrayphoto.jpg?v=1380603838"},{"product_id":"boris-kerner","title":"Boris Kerner","description":"\u003cp\u003efor cello + flower pots\u003c\/p\u003e\n\u003cp\u003epremiered by \u003ca href=\"http:\/\/newmorsecode.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eNew Morse Code\u003c\/a\u003e in 2012\u003c\/p\u003e\n\u003cp\u003eduration: 8 minutes\u003c\/p\u003e\n\u003cdiv\u003e\n\u003chr\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan\u003eBoris S. Kerner lives in Stuttgart and is the author of \u003c\/span\u003e\u003cem\u003eIntroduction to Modern Traffic Flow Theory and Control: The Long Road to Three-Phase Traffic Theory\u003c\/em\u003e\u003cspan\u003e. Many thanks to Hannah and Mike of the brilliant duo New Morse Code for working with me along the way with this piece, which is another in a series of expositions on the curious phrase “the detail of the pattern is movement”.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/BItkiJej7H0\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"score + parts","offer_id":370000071,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/bk_icon2.jpg?v=1550115277"},{"product_id":"limestone-and-felt","title":"Limestone \u0026 Felt","description":"\u003cp\u003e\u003cspan class=\"greytext-norm\"\u003efor cello \u0026amp; viola\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"greytext-norm\"\u003eduration: 6'\u003cbr\u003epremiered in the Netherlands, January 2012, by Hannah Collins \u0026amp; Hannah Shaw\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eLimestone \u0026amp; Felt\u003c\/strong\u003e\u003c\/em\u003e presents two kinds of surfaces – essentially hard and soft. These are materials that can suggest place (a cathedral apse, or the inside of a wool hat), stature, function, and – for me – sound (reverberant or muted). In limestone \u0026amp; felt, the hocketing pizzicato and pealing motivic canons are part of a whimsical, mystical, generous world of sounds echoing and colliding in the imagined eaves of a gothic chapel. These are contrasted with the delicate, meticulous, and almost reverent placing of chords that, to our ears today, sound ancient and precious, like an antique jewel box. Ultimately, felt and limestone may represent two opposing ways we experience history and design our own present.\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"Default Title","offer_id":370005443,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/3536324599_d72161c15e_m.jpg?v=1380605920"},{"product_id":"punctum","title":"Punctum","description":"\u003cspan class=\"greytext-norm\"\u003efor string quartet\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"greytext-norm\"\u003e2009 \/ revised 2013\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"greytext-norm\"\u003e\u003cem\u003eworkshopped in 2009 and 2010 with the Hudson and Franklin Quartets | first \u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"greytext-norm\"\u003e\u003cem\u003eperformance at the Greenwich House, NYC (April 2010) | \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003erevised in 2013 for the Brentano Quartet at Princeton University \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"greytext-norm\"\u003e8’30″\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003chr class=\"style-four\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePunctum \u003c\/em\u003eis essentially an exercise in nostalgia, inspired by Roland Barthes’ description of the “unexpected” in photographs and in particular by his extended description of the elusive “Winter Garden” photo in his 1980 book \u003cem\u003eCamera Lucida\u003c\/em\u003e. Through modular sequences strung together out of context, the piece explores a way of saturating the palette with classicism while denying it form, and of disturbing the legibility of a harmonic progression in order to reinforce it later.\u003c\/p\u003e\n\u003cp\u003eOne could also say the piece is about the sensation of a particular secondary dominant in Bach’s \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e.\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"score + parts + mp3","offer_id":375791849,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/vintage-old-wallpaper-pattern1.jpg?v=1382898797"},{"product_id":"entr-acte","title":"Entr'acte","description":"\u003cp\u003e\u003cstrong\u003efor string quartet, 2011\u003cbr\u003e (also adapted for string orchestra, 2014)\u003cbr\u003e 11'\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFirst performed by the Brentano Quartet at Princeton University, April 2011\u003cbr\u003e String orchestra version commissioned by A Far Cry, July 2014\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan class=\"il\"\u003eEntr\u003c\/span\u003e’\u003cspan class=\"il\"\u003eacte\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.\u003c\/span\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"STRING QUARTET - SCORE AND ALL PARTS","offer_id":386864214,"sku":"","price":24.0,"currency_code":"USD","in_stock":true},{"title":"STRING ORCHESTRA - SCORE AND ALL PARTS","offer_id":875296269,"sku":"","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/0.jpg?v=1534298796"},{"product_id":"valencia","title":"Valencia","description":"\u003cp\u003efor string quartet\u003c\/p\u003e\n\u003cp\u003e2012 | 6'  \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003efirst performed at \u003ca href=\"http:\/\/manchesterbythebook.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003ea lovely book store\u003c\/a\u003e in Manchester-by-the-Sea, Massachusetts \u003cbr\u003eAugust 2012 \u003cbr\u003ewith Lorna Tsai \u0026amp; Caroline Shaw, violins \/ Sage Cole, viola \/ Shay Rudolph, cello\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cbr\u003eThere is something exquisite about the construction of an ordinary orange. (Grocery stores around the country often offer the common \"Valencia\" as the standard option.) Hundreds of brilliantly colored, impossibly delicate vesicles of juice, ready to explode. It is a thing of nature so simple, yet so complex and extraordinary. In 2012, I performed at the MoMA with the musician and performance artist, \u003ca href=\"http:\/\/en.wikipedia.org\/wiki\/Glasser_(musician)\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eGlasser\u003c\/a\u003e — a song which she described as being about the simple beauty of fruit. Later that summer I wrote Valencia, for a concert I was playing with some good friends in Manchester-by-the-Sea, Massachusetts. I decided to channel Glasser's brave and intuitive approach to melody and texture, such that Valencia became an untethered embrace of the architecture of the common Valencia orange, through billowing harmonics and somewhat viscous chords and melodies. It is also a kind of celebration of awareness of the natural, unadorned food that is still available to us. -\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"score + parts","offer_id":386878936,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/orange_pulp-normal2.jpg?v=1382899648"},{"product_id":"taxidermy","title":"Taxidermy","description":"\u003cp\u003e\u003cspan\u003efor percussion quartet\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e[flowerpots, vibraphone \u0026amp; marimba]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eduration: 9 minutes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003epremiered by Sō Percussion, Princeton University, 2012\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDownload includes score only. No parts available. (But I promise the score isn't super annoying to play from.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003chr\u003e\n\u003ciframe src=\"\/\/player.vimeo.com\/video\/58745510?byline=0\u0026amp;portrait=0\u0026amp;color=ffffff\" width=\"350\" height=\"197\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" webkitallowfullscreen=\"webkitallowfullscreen\" mozallowfullscreen=\"mozallowfullscreen\"\u003e\u003c\/iframe\u003e \u003cbr\u003e\n\u003chr\u003e\n\u003cbr\u003e\n\u003cp\u003eWhy “Taxidermy”? I just find the word strangely compelling, and it evokes something grand, awkward, epic, silent, funny, and just a bit creepy — all characteristics of this piece, in a way. The repeated phrase toward the end (“the detail of the pattern is movement”) is a little concept I love trying (and failing) to imagine. It comes from T.S. Eliot’s beautiful and perplexing Burnt Norton (from the Four Quartets), and I’ve used it before in other work — as a kind of whimsical existentialist mantra.\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"score","offer_id":386883594,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/taxidermy_flowerpot_1.jpg?v=1550119635"},{"product_id":"in-manus-tuas","title":"in manus tuas","description":"\u003cp\u003efor solo cello (original) | or solo viola | or \u003ca href=\"https:\/\/www.abbyfisherpercussion.com\/store\/p1\/Shaw-marimba-arr.html\" title=\"in manus tuas for marimba\"\u003esolo marimba\u003c\/a\u003e (arr. Fisher)\u003c\/p\u003e\n\u003cp\u003epremiered by Hannah Collins in New Haven, Connecticut, in 2009\u003c\/p\u003e\n\u003cp\u003eduration: 8-10 minutes\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003ciframe height=\"315\" width=\"560\" src=\"\/\/www.youtube.com\/embed\/YRI7mj0dEKI?rel=0\" allowfullscreen=\"allowfullscreen\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eprogram note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eIn manus tuas\u003c\/i\u003e is based on a 16th century motet by Thomas Tallis. While there are only a few slices of the piece that reflect exact harmonic changes in Tallis' setting, the motion (or lack of) is intended to capture the sensation of a single moment of hearing the motet in the particular and remarkable space of Christ Church in New Haven, Connecticut. \u003ci\u003eIn manus tuas\u003c\/i\u003e was written in 2009 for cellist Hannah Collins, for a secular solo cello compline service held in the dark, candlelit nave.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNEW: \u003c\/strong\u003eIf you are looking for the \u003cstrong\u003esolo marimba\u003c\/strong\u003e version of \u003cem\u003e\"in manus tuas\"\u003c\/em\u003e arranged by Abby Fisher, \u003ca title=\"in manus tuas for solo marimba arranged by Abby Fisher\" href=\"https:\/\/www.abbyfisherpercussion.com\/store\/p1\/Shaw-marimba-arr.html\"\u003e\u003cstrong\u003eplease visit her site here\u003c\/strong\u003e\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"for solo cello","offer_id":868821261,"sku":"","price":16.0,"currency_code":"USD","in_stock":true},{"title":"for solo viola","offer_id":868821705,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/choral-compline-christ-church-new-haven-ct.jpg?v=1550116733"},{"product_id":"its-motion-keeps","title":"Its Motion Keeps","description":"\u003ch2\u003eIts Motion Keeps\u003c\/h2\u003e\n\u003cp\u003efor treble chorus (SSSSAA) \u0026amp; solo viola (or solo cello)\u003c\/p\u003e\n\u003cp\u003eduration: 7 minutes\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCommissioned by the Brooklyn Youth Chorus\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e Premiered November 2013 at Carnegie Hall, New York City\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e by the Brooklyn Youth Chorus, directed by Dianne Berkun-Menaker\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e with Caroline Shaw on viola\u003c\/em\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003ePROGRAM NOTE: \u003c\/p\u003e\n\u003cp\u003eBritten's attraction to his native English folk songs and hymns comes through in so much of his music, from his choral and opera works to his chamber music and vocal arrangements. Taking a step in that direction, and then sideways and back and around, \u003cspan\u003e\u003ci\u003eIts\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e \u003c\/i\u003e\u003cspan\u003e\u003ci\u003eMotion\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e \u003c\/i\u003e\u003cspan\u003e\u003ci\u003eKeeps\u003c\/i\u003e\u003c\/span\u003e is based on the words from the first verse of the American shape \u003cspan\u003enote\u003c\/span\u003e hymn \u003ci\u003eKingwood\u003c\/i\u003e, found in \u003ci\u003eThe Southern Harmony\u003c\/i\u003e (1835) and other early 19th century hymn books. (Very likely it is a text that immigrated from England.) It begins with a palindromic viola pizzicato line that gestures to the continuo lines of Henry Purcell, to whom Britten wrote several \u003ci\u003ehomages\u003c\/i\u003e. The choir echoes this contour at first and soon splits into swift canonic figures like those found in \"This Little Babe\" from Britten's \u003ci\u003eCeremony of Carols\u003c\/i\u003e, eventually expanding into the \"swirling spheres\" above string arpeggiations in a texture that recalls the \u003ci\u003evivace \u003c\/i\u003emovement of his second string quartet (one of his \u003ci\u003ehomages\u003c\/i\u003e to Purcell). The ecstatic double choir section evokes the antiphonal sound of the early English choral tradition, with harmonies overlapping overhead in the reverberant stone cathedrals, creating brief dissonances while one sound decays as the next begins. The last line, \"Time, like the tide, \u003cspan\u003eits\u003c\/span\u003e \u003cspan\u003emotion\u003c\/span\u003e \u003cspan\u003ekeeps\u003c\/span\u003e; Still I must launch through endless deeps,\" is just one of those perfect, beautiful lyrics — resilient and bittersweet.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"SCORE (up to 25 prints)","offer_id":891271541,"sku":"","price":60.0,"currency_code":"USD","in_stock":true},{"title":"SCORE (up to 80 prints)","offer_id":18556402892896,"sku":"","price":150.0,"currency_code":"USD","in_stock":true},{"title":"VIOLA PART","offer_id":12395149394016,"sku":"","price":10.0,"currency_code":"USD","in_stock":true},{"title":"CELLO PART","offer_id":12395149426784,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/images.jpeg?v=1407713943"},{"product_id":"blueprint","title":"Blueprint","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003efor string quartet\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eappears on the Aizuri Quartet's GRAMMY-nominated album, Blueprinting\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe Aizuri Quartet's name comes from \"aizuri-e,\" a style of Japanese woodblock printing that primarily uses a blue ink. In the 1820s, artists in Japan began to import a particular blue pigment known as \"Prussian blue,\" which was first synthesized by German paint producers in the early 18th century and later modified by others as an alternative to indigo. The story of \u003ci\u003eaizuri-e\u003c\/i\u003e is one of innovation, migration, transformation, craft, and beauty. \u003ci\u003eBlueprint, \u003c\/i\u003ecomposed for the incredible Aizuri Quartet, takes its title from this beautiful blue woodblock printing tradition\u003ci\u003e \u003c\/i\u003eas well as from that familiar standard architectural representation of a proposed structure: the blueprint. This piece began its life as a harmonic reduction — a kind of floor plan — of Beethoven's string quartet Op. 18 No. 6. As a violinist and violist, I have played this piece many times, in performance and in joyous late-night reading sessions with musician friends. (One such memorable session included Aizuri's marvelous cellist, Karen Ouzounian.) Chamber music is ultimately about conversation without words. We talk to each other with our dynamics and articulations, and we try to give voice to the composers whose music has inspired us to gather in the same room and play music. \u003ci\u003eBlueprint\u003c\/i\u003e is also a conversation — with Beethoven, with Haydn (his teacher and the \"father\" of the string quartet), and with the joys and \u003ci\u003emalinconia\u003c\/i\u003e of his Op. 18 No. 6.\u003cbr\u003e\u003cspan class=\"s1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003e(program note by Caroline Shaw, March 2016)\u003c\/em\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p2\"\u003e\u003cem\u003eBlueprint\u003c\/em\u003e was commissioned by the Wolf Trap Foundation for the Performing Arts for the Aizuri Quartet\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e \u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"SCORE + PARTS","offer_id":18556701507680,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/Screen_Shot_2016-06-07_at_1.55.29_PM.png?v=1465333538"},{"product_id":"and-the-swallow","title":"and the swallow","description":"\u003cp\u003eSSAATTBB\u003c\/p\u003e\n\u003cp\u003e3'\u003c\/p\u003e\n\u003cp\u003eText from Psalm 84. First performed on November 11, 2017, by the Netherlands Chamber Choir.\u003c\/p\u003e","brand":"CAROLINE SHAW EDITIONS","offers":[{"title":"PERUSAL SCORE","offer_id":4760852103198,"sku":"","price":8.0,"currency_code":"USD","in_stock":true},{"title":"SCORE (up to 25 prints)","offer_id":18556520530016,"sku":"","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/top-silhouette-and-swallow-cut-out-flying-photos.jpg?v=1510613422"},{"product_id":"dolce-cantavi","title":"Dolce Cantavi","description":"\u003cp\u003efor 3 voices (SSA) | duration: 3 minutes \u003c\/p\u003e\n\u003cp\u003etext by Francesca Turina Bufalini Contessa di Stupinigi (1544-1641)\u003c\/p\u003e\n\u003cp\u003ecommissioned and premiered by TENET (Jolle Greenleaf, Molly Quinn, and Virginia Warnken Kelsey performing) available on recording: TENET's \u003cem\u003eThe Secret Lover\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ygNP42U-ksM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"CAROLINE SHAW EDITIONS","offers":[{"title":"score (print up to 25 copies)","offer_id":18585048678496,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/5c93b841adac8bb26249a74aef21ac51--historical-costume-historical-clothing.jpg?v=1550117781"},{"product_id":"plan-and-elevation","title":"Plan \u0026 Elevation","description":"\u003cp\u003e\u003cstrong\u003ePlan \u0026amp; Elevation: The Grounds of Dumbarton Oaks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003efor STRING QUARTET\u003c\/p\u003e\n\u003cp\u003e[ SCORE \u0026amp; PARTS - PDF DOWNLOAD only ]\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI. The Ellipse\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eII. The Cutting Garden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIII. The Herbaceous Border\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIV. The Orangery\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eV. The Beech Tree\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003eCommissioned by Dumbarton Oaks, and premiered by the Dover Quartet in the music room of Dumbarton Oaks on November 1, 2015.\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—————\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003e[program note written February 2016]:\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eI have always loved drawing the architecture around me when traveling, and some of my favorite lessons in musical composition have occurred by chance in my drawing practice over the years. While writing a string quartet to commemorate the 75th anniversary of Dumbarton Oaks, I returned to these essential ideas of space and proportion — to the challenges of trying to represent them on paper. The title, \u003ci\u003ePlan \u0026amp; Elevation\u003c\/i\u003e, refers to two standard ways of representing architecture — essentially an orthographic, or “bird’s eye,” perspective (“plan”), and a side view which features more ornamental detail (“elevation”). This binary is also a gentle metaphor for one’s path in any endeavor — often the actual journey and results are quite different (and perhaps more elevated) than the original plan. \u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI was fortunate to have been the inaugural music fellow at Dumbarton Oaks in 2014-15. \u003ci\u003ePlan \u0026amp; Elevation\u003c\/i\u003e examines different parts of the estate’s beautiful grounds and my personal experience in those particular spaces. Each movement is based on a simple ground bass line which supports a different musical concept or character. “The Ellipse” considers the notion of infinite repetition (I won’t deny a tiny Kierkegaard influence here). One can walk around and around the stone path, beneath the trimmed hornbeams, as I often did as a way to clear my mind while writing. The second movement, “The Cutting Garden,” is a fun fragmentation of various string quartets (primarily Ravel, Mozart K. 387, and my own \u003ci\u003eEntr’acte, Valencia, \u003c\/i\u003eand \u003ci\u003ePunctum\u003c\/i\u003e), referencing the variety of flowers grown there before they meet their inevitable end as cuttings for display. “The Herbaceous Border” is spare and strict at first, like the cold geometry of French formal gardens with their clear orthogonals (when viewed from the highest point), before building to the opposite of order: chaos. The fourth movement, “The Orangery,” is evokes the slim, fractured shadows in that room as the light tries to peek through the leaves of the aging fig vine. We end with my favorite spot in the garden, “The Beech Tree.” It is strong, simple, ancient, elegant, and quiet; it needs no introduction.\u003c\/span\u003e\u003c\/p\u003e","brand":"CAROLINE SHAW EDITIONS","offers":[{"title":"score \u0026 parts","offer_id":20101751472224,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/plan_elevation_shopify_image_1.jpg?v=1565709955"},{"product_id":"thousandth-orange","title":"Thousandth Orange","description":"\u003cp\u003eTHOUSANDTH ORANGE\u003c\/p\u003e\n\u003cp\u003einstrumentation: violin, viola, cello, piano\u003c\/p\u003e\n\u003cp\u003eduration: 10’\u003c\/p\u003e\n\u003cp\u003epremiere: 17 April 2018 in Cambridge, UK, by members of the Britten Sinfonia (Thomas Gould, vioin; Clare Finnimore, viola; Caroline Dearnley, cello; Tom Poster, piano)\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePROGRAM NOTE:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ci\u003eThousandth Orange\u003c\/i\u003e begins with a very simple 4-chord progression. Nothing fancy. Nothing extravagant. Just something quite beautiful and everyday, that is enjoyed and loved and consumed and forgotten. Something you’ve probably heard before, in a pop song or a music theory class. While considering my love of Brahms' piano quartets and my memory of playing them—and more generally how our memories of beloved music evolve over time—I began thinking about the history of still-life paintings. Those bowls of fruit we see framed in museums—sort of lovely and banal, at first glance, but then richer when considered in the long story of humans painting things that they see, over and over and over again. There's a reason that Van Gogh painted those vases of sunflowers again and again, or Caravaggio his fruit. Maybe after the tenth, or the hundredth, or the thousandth time one paints, or looks at, or eats, an orange (or plays a simple cadential figure), it is just as beautiful as the first time. There is still more to see and to hear and to love. More angles reveal themselves—more perspectives and corners and stories, more understanding—more appreciation of something that most would consider unremarkable. \u003ci\u003eThousandth Orange\u003c\/i\u003e is about these tiny oblique revelations that time's filter can open up in a musical memory. The title also suggests a thousand different shades of the color orange, or the image of a thousand oranges, or perhaps a thousand ways of looking at an orange.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—Caroline Shaw, 2020\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eA NOTE ABOUT THIS DOWNLOAD:\u003c\/p\u003e\n\u003cp\u003eAs usual with CS Editions, this is a digital product only. You will be able to download a zip file of pdf's. For \"Thousandth Orange\" I've created an additional set of pdf's (included) which are designed for players who prefer to use an ipad or other tablet to play from a score, with their own part slightly enlarged. It's a nice option to have, and I'll probably start making these for other pieces as well.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Caroline Shaw Editions","offers":[{"title":"score + parts","offer_id":31777282392160,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0273\/1909\/products\/Screen_Shot_2020-01-30_at_11.53.55_AM.png?v=1580403656"}],"url":"https:\/\/carolineshaw.com\/collections\/complete-works.oembed","provider":"CAROLINE SHAW EDITIONS","version":"1.0","type":"link"}