Esmail: Khirkhiyaan
Expected to ship in about a month.
Shipping Policy- Composer: Reena Esmail (1983-)
- Format: Score & Set of Parts
- Instrumentation: Brass Quintet (Trumpet I, Trumpet II, Horn, Trombone, Tuba)
- Work: Khirkhiyaan (2017)
Description
So much of my work with brass instruments has come into being because of incredible and intrepid brass players who have shown me new windows into my own music. Hence the title: khirkiyaan means ‘windows' in Hindi, and this brass quintet is made up of three ‘windows' into my work. Each movement is a transformation of another piece of mine for another instrumentation, reimagined for brass quintet.
Tuttarana, the third movement of this piece, was commissioned by The Brass Project, a brass ensemble formed from graduates of the Curtis Institute of Music. It was originally a piece for women's choir. The title of this movement is a conglomeration of two words: the Italian word ‘tutti', means ‘all' or ‘everyone', and the term ‘tarana' designates a specific Hindustani (North Indian) musical form, whose closest Western counterpart is the ‘scat' in jazz. Made up of rhythmic syllables, a tarana is the singer's chance to display agility and dexterity. While the brass version of this piece doesn't have the actual syllables that the vocal version does, it does aim to showcase the brilliant virtuosity of the ensemble.
The other two movements were added later, as a commission from Kansas State University‘s faculty brass quintet. The first movement, Jog, is a movement of my string quartet, Ragamala. Though not entirely in the purest form of the Hindustani raag called Jog (I was still learning it at the time), it does use the characteristic raised/lowered 3rd that switches between the Western perception of Major and Minor.
The second movement, Joota, comes from my song cycle for guitar and mezzo soprano, called Chuti Hui Jagah (The Space Between). The title, which means ‘shoe' in Hindi comes from a tiny couplet by poet Manav Kaul, which translates to: "When the shoe bites / Then it becomes difficult to navigate through the world / and when the shoe stops biting / Then it becomes difficult to navigate through time."
If I had set out to write a brass quintet, I am sure it wouldn't have been this piece. I would have started with my own limited, preconceived notions of what I thought a brass quintet should be, and worked outward from there. But it was through working with brass players, being shown the seeds of what was already there in my existing work, and then transforming it for these instruments that allowed these windows to be opened in my work.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Digital Download
Digital, PDF version of the score.
Esmail: Khirkhiyaan
