H. Biggs: Jacob wrestling
Expected to ship in 2-3 weeks.
- Composer: Hayes Biggs (1957-)
- Format: Set of Parts
- Instrumentation: Soprano, Mezzo Soprano, Narrator, Chamber Ensemble
- Work: Jacob wrestling (2004)
- Work Language: Hebrew (Transliteration)
- ISMN:
- Size: 8.9 x 12.0 inches
Description
Composer's Note:
Jacob wrestling was composed in the fall of 2004 for TACTUS, the excellent contemporary music ensemble of the Manhattan School of Music, at the request of its conductor, Patti Monson. The theme of the concert Patti had in mind was "Words and Music," and she indicated to me that she was particularly interested in works that would combine spoken text with music. Though I had a certain amount of trepidation about trying my hand at using spoken narration, as I had always thought it very difficult to pull off convincingly, I nonetheless found myself greatly enjoying the challenge, and ultimately quite pleased with the result.
The text that captured my interest is found in the book of Genesis. Jacob, who some years earlier had deceived his twin brother Esau into giving up his birthright and their father Isaac into bestowing on Jacob the blessing intended for Esau, now finds himself preparing for what he hopes will be a reconciliation with his brother. He sends his two wives and his children ahead of him, along with gifts to appease Esau. On the eve of his meeting with Esau, Jacob is described as wrestling with what traditionally has been assumed to be an angel or similar supernatural being, though the original Hebrew refers to him only as "a man." Jacob receives from this man the new name of "Israel," in tribute to his boldness in "striving with God and with man." Since I am in general favorably disposed toward the notion that striving with God is not only acceptable but essential, my choice of this text was, in retrospect, only natural.
The two singers sing verses from the passage in Hebrew, and the Majority of their musical material derives from the traditional melodic patterns that would be used in chanting this passage in the synagogue. I would like to acknowledge Cantor JoAnn Rice, Assistant Professor of Choral Studies at the Jewish Theological Seminary, who provided me with a transliteration of the Hebrew and a guide to its pronunciation and word accents. Rabbi Richard Jacobs, of Westchester Reform Temple in Scarsdale, New York, where it has been my privilege for some years to sing High Holidays services, gave me some very useful and thought provoking commentaries on this text, for which I am very grateful.
Instrumentation: Soprano, Mezzo-soprano, Narrator; Clarinet (doubling Bass Clarinet with low C extension), Alto Saxophone (doubling Baritone Saxophone), Tenor Saxophone (doubling Soprano Saxophone), Percussion, and Piano
Percussion Needed: Vibraphone; Marimba (with low extension down to C2); Chimes; Medium Sizzle Cymbal; 3 Tuned Gongs (Small, Medium, Large); Large Tam-tam; 4 Tom-toms; Bass Drum; Tambourine.
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.
H. Biggs: Jacob wrestling
