{"title":"Sheet music composed by Eric Nathan (1983-)","description":"Eric Nathan (1983-) is a composer from United States of America.","products":[{"product_id":"nathan-the-seas-between-us-just-theory","title":"Nathan: The Seas Between Us","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eFlute, Orchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: The Seas Between Us (2024)\u003c\/li\u003e \u003cli class=\"binding\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: Spiral Bound\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094008174\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e11.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e16.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 101\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eThe Seas Between Us,\u003c\/em\u003e Eric Nathan (2024) 23'\u003c\/p\u003e\n\u003cp\u003efor solo flute and orchestra\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. At Sea\nII. To Dance\nIII. Beyond Waves\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInstrumentation:\u003c\/strong\u003e solo flute; 2.2.2.2\/4.2.2.1\/timp.3 perc\/hp\/str\u003c\/p\u003e\n\u003cp\u003eI grew up close to the sea, by a tidal estuary that exhibited a dramatic range of being. On a grey, wintry day it could be so still that you could not tell where the sea ended and the clouds began, yet, during a storm, its white-capped waves could thrash so violently you dared not venture too close for risk of being swept away. On clear days, I would stand on the shore and look out across the bay imagining the open sea beyond and the faraway lands that awaited on its opposite shores.\u003c\/p\u003e\n\u003cp\u003eShortly before writing this piece, flutist Alejandro Escuer's home was destroyed by sea surf whipped up by a hurricane. I was moved by both the painfulness of this experience but also his and his family's determination to rebuild. As I began this flute concerto, I took walks by the sea, contemplating the vastness of the ocean, pondering its inherent dualities. The sea brings both destruction and new life as well as an uncertainty of the unknown paired with the rhythmic certainty of the tide that can be even more anticipated than one's next breath. It separates societies from each other and connects them. It is a home and the path to new beginnings. It encapsulates such strength, gracefulness, madness and beauty.\u003c\/p\u003e\n\u003cp\u003eIn this concerto I imagine the solo flute as a protagonist in a drama, a bird-like character with equal measures of innocence and wisdom, like one of poet Emily Dickinson's birds, emblematic of a hope that perches within. Over the course of the work, the solo flute brings the orchestra together and then leads it forward. The flutist comforts, mourns, yearns, pleads and dances.\u003c\/p\u003e\n\u003cp\u003eThe concerto is structured in three movements. The first, \u003cem\u003eAt Sea\u003c\/em\u003e , begins with us cast away in a vast expanse. The second, \u003cem\u003eTo Dance\u003c\/em\u003e , unites disparate elements, beginning with a festive sense of the macabre and ending with the parade-like energy of a big-band jazz march. Close in mind were the numerous world traditions that mourn death by celebrating life through dance. The final movement, \u003cem\u003eBeyond Waves\u003c\/em\u003e , begins far removed from the second. The conductor's sweeping gestures send waves of breathing sound rippling across the stage. There is a processional quality to the music, with music of both violence and intimacy. By the end we find ourselves skyward bound, gently swaying in the quiet. As I wrote the ending, I remembered the hot air balloon ride I took two months prior over the pyramid of Teotichuacán and its Avenue of the Dead. I am afraid of heights and so I thought I would be terrified, yet I was instead mesmerized by the gracefulness and solitude of being captive to the whims of the wind. I felt far removed from both my life on the ground below and the immense history of the ancient civilization we floated by, yet also more present on a path to a deeper understanding of both.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Seas Between Us\u003c\/em\u003e is commissioned by Elizabeth and Justus Schlichting for the Orquesta Filarmónica de la Ciudad de México, Orquesta Filarmónica de Acapulco, Orquesta Filarmónica del Estado de Chihuahua, Orquesta Sinfónica de Yucatán, and Orquesta Filharmónica de Boca del Río, and co-commissioned by the New England Philharmonic. It is dedicated to flutist Alejandro Escuer. This work was composed during a fellowship residency at MacDowell.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Full Score","offer_id":42795728470095,"sku":"153-069-FS","price":150.5,"currency_code":"USD","in_stock":true},{"title":"Solo Part","offer_id":42795745673295,"sku":"153-069-P","price":25.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4c948f0c6557adf449949e3064bf5acc.png?v=1772137766"},{"product_id":"nathan-open-again-a-turn-of-light-just-theory","title":"Nathan: Open again a turn of light","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eSATB Choir, Orchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Open again a turn of light (2023)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007948\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e11.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e16.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e_Open again a turn of light , _Eric Nathan (2023) 5'\u003c\/p\u003e\n\u003cp\u003efor orchestra and SATB chorus\u003c\/p\u003e\n\u003cp\u003eText by Sawako Nakayasu\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInstrumentation:\u003c\/strong\u003e 3.3.3.3\/4.2.2.1\/timp.4 perc\/pno.hp\/strings\u003c\/p\u003e\n\u003cp\u003eIt is a rare opportunity to write a piece of music to open a new concert hall. The first performance in a new venue can be a moment filled with immense pent-up excitement, curiosity, and promise, as well as some nervousness. New beginnings also offer meaningful opportunities for reflection, to think of where we have been, where we are now and where we go from here.\u003c\/p\u003e\n\u003cp\u003eIn the spirit of Brown's culture of interdisciplinary collaboration, I wanted to celebrate the opening of The Lindemann Performing Arts Center with a collaboration across artforms. with the support of the Brown University Orchestra, Chorus and Brown Arts Institute, I invited Brown Assistant Professor of Literary Arts, Sawako Nakayasu, to write a new newly commissioned poem, \u003cem\u003eOpen again a turn of light\u003c\/em\u003e , that I set to music for orchestra and choir.\u003c\/p\u003e\n\u003cp\u003eWhen Sawako and I met to discuss ideas, I shared two phrases that had recently inspired me in my thinking for this occasion: \"soul-sustaining light\" and \"refuge.\" These are BAI Artistic Director Avery Willis Hoffman's words from a presentation she gave to the faculty a few weeks earlier about the hall's transformative potential as a physical space for inspiring artistic creation. My conversations with Sawako soon spanned a wide range of ideas and concepts, finding metaphors in natural phenomena such as wind and waves. Sawako returned a few weeks later with a poem that encapsulates a world of experiences. Grounded in the imagery of light, the text continually returns to the gesture of \"opening,\" each time helping us see this act through a new window of feeling.\u003c\/p\u003e\n\u003cp\u003eIn the music, I aim to capture the poetry's interplay between dark and light, play and contemplation, momentary feelings and monumental shifts, and also of looking forward and looking back. I was particularly captivated by the imagery of a few phrases from the poem: \"open a rock to open the light,\" \"a turn of light,\" and the weaving between a loom's \"warp\" and \"weft.\" The music travels between low and high registers and dense and luminous timbres as it embraces and encompasses a world in between. At various points, the conductor's hands sweep across the musicians, creating waves of sound that ripple over the stage. As I composed, I thought of how a new university arts center, like the journey though the liberal arts collegiate experience itself, may be home to a spectrum of experiences that serve to open the mind.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOpen again a turn of light\u003c\/em\u003e was commissioned by the Brown University Orchestra and Brown Arts Institute on the occasion of the inauguration of The Lindemann Performing Arts Center, for premiere October 20-21, 2023 by the Brown University Orchestra, Mark Seto, Director, and Brown University Chorus, Louis Frederick Jodry, Director.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Full Score","offer_id":42795749638223,"sku":"153-056-FS","price":75.5,"currency_code":"USD","in_stock":true},{"title":"Choral Score","offer_id":42798062534735,"sku":"153-056-VS","price":5.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/0ea097da9d5612815ce71c643496eb79.png?v=1772483674"},{"product_id":"nathan-fanfare-just-theory","title":"Nathan: Fanfare","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eConcert Band\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Fanfare (2007)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 12\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eFanfare,\u003c\/em\u003e Eric Nathan (2007) 1'30\"\nfor wind ensemble\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFanfare\u003c\/em\u003e is inspired by the times I have stood atop a very high place and gazed out upon a large geographic region. The two mountain ranges that have inspired this piece are the Berkshire Mountains of Massachusetts and the Grand Tetons of Wyoming. These two mountain ranges are very different in appearance, but the sense of exhilaration and awe that they inspire in me is very similar.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInstrumentation:\u003c\/strong\u003e Piccolo, flute 1-2, oboe 1-2, bassoon 1-2, clarinet 1-3, bass clarinet, alto saxophone 1-2, tenor saxophone, baritone saxophone, trumpet 1-3, horn 1-4, tenor trombone 1-2, bass trombone, euphonium, tuba, timpani, percussion 1-3\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Score \u0026 Set of Parts","offer_id":42829151404111,"sku":"153-082-SP","price":115.5,"currency_code":"USD","in_stock":true},{"title":"Full Score","offer_id":42829152878671,"sku":"153-082-FS","price":35.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/fdefd8dd7645dcf2377d793c8fd1cd6a.jpg?v=1749599025"},{"product_id":"nathan-missing-words-vi-just-theory","title":"Nathan: Missing Words VI","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eCello, Violin, Clarinet I, Flute I\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words VI (2020)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007849\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.7\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 36\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eMissing Words VI,\u003c\/em\u003e Eric Nathan (2020) 16'\nfor flute, clarinet, violin, and cello\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMissing Words VI (2021)\u003c\/em\u003e is part of a larger series of works, \u003cem\u003eMissing Words (I-VI)\u003c\/em\u003e , composed in homage to the newly-created German words presented in Ben Schott's book, \u003cem\u003eSchottenfreude: German Words for the Human Condition\u003c\/em\u003e (Blue Rider Press\/Penguin Group). These Seinfeld-ian words illuminate everyday experiences for which English has no synonyms. The words are therefore \"missing\" from English, and Schott has proposed German words we can adopt into English as we have adopted Doppelgänger, Schadenfreude and Wanderlust. I love the wit, humor, pathos and intimacy of these words, and use the situations they evoke as points of departure for the music. The series as a whole speaks to the complexity of life and human experience, and how all the little bits of the everyday \"present\" can help us find deeper meaning in our own.\u003c\/p\u003e\n\u003cp\u003eSome thoughts on each movement below (Schott's definitions in quotes):\u003c\/p\u003e\n\u003cp\u003eI., III., V. Witzbeharrsamkeit (Joke-Insistence) I-III: \"Unashamedly repeating a bon mot until it is properly heard by everyone present.\" The lively chatter of parties. The piccolo futilely proclaims something (they believe is) clever (about Beethoven, during his anniversary year). The bass clarinet and violin try again later.\u003c\/p\u003e\n\u003cp\u003eII. Betttrug (Bed-Deception): \"The fleeting sense of disorientation on waking in a strange bed.\" Basking in the glorious first moments of waking in a new place. The first time since lockdown. Light streams through the window. Wishing it would last forever.\u003c\/p\u003e\n\u003cp\u003eIV. Dielennystagmus (Hallway-Nystagmus): \"Repeatedly catching and avoiding people's gazes when, say, approaching them down a long corridor.\" A game – catching and averting. Life filled with only gazes.\u003c\/p\u003e\n\u003cp\u003eVI. Erebusterror (Errebus-Terror): \"Dread at the first indications of a fatal disease.\" A thread of dignity amidst what's looming.\u003c\/p\u003e\n\u003cp\u003eVII. Rolleirückblende (Rollei-Flashback): \"The flood of memory released when looking at old photos.\" Thinking back – but remaining here.\u003c\/p\u003e\n\u003cp\u003e[The movement titles of \u003cem\u003eMissing Words\u003c\/em\u003e , and their translations and definitions, quote text from \u003cem\u003eSchottenfreude\u003c\/em\u003e by Ben Schott. Copyright © 2013 by Ben Schott. Used by permission of the author. All rights reserved.]\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. Witzbeharrsamkeit (Joke-Insistence) I\nII. Betttrug (Bed-Deception)\nIII. Witzbeharrsamkeit (Joke-Insistence) II\nIV. Dielennystagmus (Hallway-Nystagmus)\nV. Witzbeharrsamkeit (Joke-Insistence) III\nVI. Erebusterror (Errebus-Terror)\nVII. Rolleinrückblende (Rollei-Flashback)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43160202117199,"sku":"153-048-SP","price":100.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/3ef6da4e8d240e31bb31523d78ec9f92.png?v=1749744130"},{"product_id":"nathan-between-just-theory","title":"Nathan: Between","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Between (2022)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094008778\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.7\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 23\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eBetween for solo piano\u003c\/em\u003e by Eric Nathan (2022, rev. 2025). Duration: 6'\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBetween\u003c\/em\u003e was commissioned as a short companion piece to Claude Debussy's \u003cem\u003eÉtudes\u003c\/em\u003e. Each of Debussy's études focuses on a different technical challenge that a pianist strives to master in their study of the instrument. in my piece, I focus on the challenge of playing \"inside the piano,\" a practice that has become common in the hundred years since the publication of Debussy's work.\u003c\/p\u003e\n\u003cp\u003eI conceived of my piece as a dialogue between contrasting sounds and ways of engaging with the instrument: between the piano's tempered tuning and its natural overtone harmonics, and between playing on the piano's keys and upon its strings and structural beams. \"e piece follows the form of a lyrical chorale that crisscrosses and leaps across the piano's range. It's the pianist's task to always sing the lyrical line amidst the technical challenges posed—finding meaning in what lies in between.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBetween\u003c\/em\u003e takes chorales and harmonies from my previous composition, \u003cem\u003eIn Between\u003c\/em\u003e for chamber orchestra, and re-imagines them in the guise of a solo piano piece. I see this piece as a companion to the last three of Debussy's études, which focus on opposing sonorities, arpeggios and chords. \u003cem\u003eBetween\u003c\/em\u003e was commissioned by Bucknell University for pianist Qing Jiang.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43160212602959,"sku":"153-081-FS","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/682cd92fa857c9c612a4e837d7c8c5b4.jpg?v=1749572653"},{"product_id":"nathan-missing-words-v-just-theory","title":"Nathan: Missing Words V","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano Trio (Piano, Violin, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words V\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007832\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 44\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\"Missing Words V\" (2018) is the fifth in an ongoing series of compositions composed in homage to Ben Schott's book, \u003cem\u003eSchottenfreude\u003c\/em\u003e (Blue Rider Press\/Penguin Group), a collection of newly created German words for the contemporary world. The German language has the capability to create new words through the combination of shorter ones and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. with his book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.\u003c\/p\u003e\n\u003cp\u003eIn my work, I take three of Schott's words, and their various conceptual associations, as points of creative departure. The first movement responds to the word, \"Ludwigssyndrom,\" which Schott directly translates as \"Ludwig's-Syndrome,\" and likens to finding something written in one's own hand that is impossible to decipher. The use of \"Ludwig\" is undoubtedly a nod to Ludwig van Beethoven and his notoriously messy manuscripts. Many composers since Beethoven have also had another sort of \"Beethoven-Syndrome,\" which one might define as the fear of composing a ninth symphony (compounded with the fear of dying before completing a tenth). I looked at the facsimile of the first draft of Beethoven's ninth symphony and reinterpreted a few selected pages from the first and third movements as if they were sketches for my own piece, reinterpreting and incorporating the wild character of Beethoven's handwriting and all of his scribbles, cross-outs, and misaligned gestures. for instance, I re-imagined impassioned cross-outs as intentional short-hand for low, rumbling textures, and misaligned beats between staves as blueprints for layered streams of music progressing at different rates. As I composed, I thought of the manuscript pages not as composite musical statements but as repositories of ideas, and as springboards for my own. Much of the music evokes the stormy passion of his handwriting, but we arrive at the end in an ethereal in D Major world, evoking Beethoven's joyous unfolding melody from the center of the third movement as if from a distant memory.\u003c\/p\u003e\n\u003cp\u003eThe second movement responds to the word, \"Kissenkühlelabsal,\" which Schott translates as \"Pillow-Chill-Refreshment.\" This word refers to the liberating and immediate sense of release experienced by laying one's head on a pillow. This movement was partially inspired by my visit to Old Delhi, India, and the relaxation I felt laying down to rest after a long day out in the city. I was particularly inspired by the beautifully cacophonous textures of car horns from the rickshaws and cars in the crowded streets, and have evoked a sense of these at the opening of the movement.\u003c\/p\u003e\n\u003cp\u003eThe final movement reflects on the word, \"Watzmannwahn,\" which refers to the perilous peaks of the Watzmann mountain in the Bavarian Alps, and the wildly rash risks climbers take when they are close to reaching the summit. My thoughts ventured to the musical tradition of a concerto cadenza, a moment that typically happens close to the end of the long musical journey between soloist and orchestra. The soloist typically attempts risky virtuosic feats before arriving at the goal of a melodic trill that then signals the return of the orchestra for the coda that follows. in the case of Beethoven's Concerto for Violin, the cadenza also precedes an orchestral coda where Beethoven takes great harmonic risks, avoids a quick resolution to the main key, and leads us through a forest of unexpected turns until we finally arrive on the main theme in D Major. My movement begins by quoting Beethoven's preparation of the cadenza from his violin concerto, and then creates a game for the trio, where I have given a simple theme to the violin that leads towards resolution but is continually interrupted by each player as they over-zealously try to complete the phrase and attain the goal of the final trill. However, each continually misses their mark, causing the trio to spiral out of control. As I neared completing this work, which also serves as the end of Book I of Missing Words (comprising Missing Words I-V), I sought to embody a sense of Watzmannwahn as a composer, taking my own compositional risks as I neared my musical goal.\u003c\/p\u003e\n\u003cp\u003e\"Missing Words V\" was commissioned by Coretet, an associate of Yarlung Artists, for the Neave Trio. It follows four previous works in the Missing Words series, which were composed for the Berlin Philharmonic's Scharoun Ensemble, American Brass Quintet, Christopher and Parry Karp, and Boston Musica Viva, respectively. (Note: the English translations used in the movement titles are quoted directly from the text of Ben Schott's \u003cem\u003eSchottenfreude\u003c\/em\u003e , 2013).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. Ludwigssyndrom (Ludwig's Syndrome) (6')\u003c\/p\u003e\n\u003cp\u003eII. Kissenkühlelabsal (Pillow-Chill-Refreshment) (4')\u003c\/p\u003e\n\u003cp\u003eIII. Watzmannwahn (Watzman-Delusion) (3')\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43478896509007,"sku":"153-047-SP","price":75.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/8e79e2104104f8c1cb89bd5b12f77589.webp?v=1754505679"},{"product_id":"nathan-missing-words-iii-just-theory","title":"Nathan: Missing Words III","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eCello, Piano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words III (2017)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007818\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 40\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eMissing Words III\" (2017) is the third in an ongoing series of compositions composed in homage to Ben Schott's book, \u003cem\u003eSchottenfreude\u003c\/em\u003e (Blue Rider Press\/Penguin Group), a collection of newly created German words for the contemporary world. The German language has the capability to create new words through the combination of shorter ones and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. with his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.\u003c\/p\u003e\n\u003cp\u003eIn my work, I take four of Schott's words, and their various conceptual associations, as points of creative departure for the imagined worlds in each movement. in some parts, the music responds playfully to the definition of a word, such as in \"Mundphantom,\" which evokes a thermometer and the phantom feeling of it under one's tongue after it has been removed. in others, such as in \"Rollschleppe,\" my thinking about the trudge up a stationary escalator drew me to darker and more complex places emotionally and metaphorically, musing on struggle, humanity and the mechanized world. in all, the music stands on its own, and takes varied paths away from each starting point.\u003c\/p\u003e\n\u003cp\u003eThe first movement responds to the word Rollschleppe, which Schott directly translates as \"Escalator-Schlep\" and defines as \"the exhausting trudge up a stationary escalator.\" The second movement evokes Mundphantom (Mouth-Phantom), which Schott defines as \"feeling that the thermometer is still under your tongue after it's been removed.\" The third movement builds upon the concept of Straußmanöver (Ostrich-Maneuver), which Schott calls \"the short-term strategy of simply denying reality,\" and the fourth movement evokes the writing of a Schubladenbrief, or as Schott calls, \"the letter you write but never send.\"\u003c\/p\u003e\n\u003cp\u003e\"Missing Words III\" was commissioned by, and is dedicated to, Parry and Christopher Karp. It follows two previous works in the Missing Words series, which were composed for the Berlin Philharmonic's Scharoun Ensemble and the American Brass Quintet, respectively. (Note: the English translations used in the movement titles and the definitions used above are quoted directly from the text of Ben Schott's \u003cem\u003eSchottenfreude\u003c\/em\u003e , 2013)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. Rollschleppe (Escalator-Schlep) (4'30\")\u003c\/p\u003e\n\u003cp\u003eII. Mundphantom (Mouth-Phantom) (4'30\")\u003c\/p\u003e\n\u003cp\u003eIII. Straußmanöver (Ostrich-Maneuver) (5')\u003c\/p\u003e\n\u003cp\u003eIV. Schubladenbrief ((Desk-)Drawer-Letter) (3')\u003c\/p\u003e\n\u003chr\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43478896541775,"sku":"153-045-SP","price":70.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/8ffb17ce6561f01845b1b2be97fb97c1.webp?v=1754505850"},{"product_id":"nathan-missing-words-ii-just-theory","title":"Nathan: Missing Words II","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eBrass Quintet\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words II (2016)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007801\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 43\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\"Missing Words II\" (2016) is the second in an ongoing series of compositions composed in homage to Ben Schott's book Schottenfreude (Blue Rider Press\/Penguin Group), a collection of newly created German words for contemporary life. The German language has the capability to create new words through the combination of shorter words and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. with his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.\u003c\/p\u003e\n\u003cp\u003eMy piece is a series of short, playful musical responses to the definitions of three of Schott's new words. The first movement responds to Schott's word \"Leertretung,\" which he directly translates as \"Void-Stepping\" and defines as \"stepping down heavily on a stair that isn't there.\" This movement is a brief tone poem that imagines the quintet as animating some kind of human-like mechanical contraption that slowly climbs up a staircase and keeps going past the final step. I treat this final \"leetretung\" moment in slow-motion, where, as Schott cites, we first experience a feeling of \"incredulousness\" followed by \"resignation.\" Our climbing creature then recovers and walks away on level ground.\u003c\/p\u003e\n\u003cp\u003eThe second movement is inspired by Schott's word \"Kraftfahrzeugsinnenausstattungsneugeruchsgenuss,\" which he translates as \"New Car Smell.\" in this movement, I imagined sitting in a brand new car and sniffing wafts of its unique scent. The musical scent that I imagine here is hard to pin down exactly and changes slightly on each whiff, with a tinge of something special in it. Here a trio of instruments repeatedly plays the same chord, but each of the notes are traded between the instruments, creating a single harmony that can be experienced slightly differently each time it is played.\u003c\/p\u003e\n\u003cp\u003eThe final movement reflects on the word \"Brillenbrillanz,\" which translates as \"Spectacles-Luminosity,\" and Schott defines as \"the sudden, innervating clarity afforded by new glasses.\" I am very nearsighted, and so for me the difference between wearing glasses and not is especially pronounced. The memory of getting my very first pair of glasses inspired this musical response. As a child at the time, I had not realized how out-of-focus the world around me was before I experienced the clarity with my new glasses. To explore this musically, I ask the trumpet and trombone players in the quintet to each remove one of their slides. with these slides removed, by pressing a valve each player can either send the sound forwards out of the instrument's bell, or backwards out of the opened slide. Two worlds are thus put into conversation – the brilliantly clear and rich sounds projecting towards the audience from the instruments' bells, and the blurry, \"out-of-tune\" sounds emanating out through where the slides were removed.\u003c\/p\u003e\n\u003cp\u003e\"Missing Words II\" was commissioned by the Aspen Music Festival and School, Robert Spano, Music Director, for the American Brass Quintet. The first work in the series, \"Missing Words I\" (2014), is scored for chamber octet and was composed for the Berlin Philharmonic's Scharoun Ensemble.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. Leertretung (Void-Stepping) (2'30\")\u003c\/p\u003e\n\u003cp\u003eII. Kraftfahrzeugsinnenausstattungsneugeruchsgenuss (Automobile-Interior-Furnishing-New-Aroma-Pleasure) - \"New Car Smell\" (2'30\")\u003c\/p\u003e\n\u003cp\u003eIII. Brillenbrillanz (Spectacles-Luminosity) (5')\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43478896574543,"sku":"153-044-SP","price":95.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/c740cda46ebef03ea6741717537d1ae0.webp?v=1754505849"},{"product_id":"nathan-missing-words-just-theory","title":"Nathan: Missing Words","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eChamber Ensemble\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words (2016)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007795\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 70\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003efor clarinet, bassoon, horn, 2 violins, viola, cello, double bass\u003c\/p\u003e\n\u003cp\u003e\"Missing Words\" (2014) is an homage to Ben Schott's book Schottenfreude (2013), a collection of newly created German words for contemporary life. The German language has the capability to create new words through the combination of shorter words and can thus express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. with his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our daily lives.\u003c\/p\u003e\n\u003cp\u003eMy piece is a series of short musical responses to the definitions of three of Schott's new words. The first movement responds to Schott's word \"Eisenbahnscheinbewegung,\" which he directly translates as \"Railway-Illusion-Motion\" and defines as \"the false sensation of movement when, looking out from a stationary train, you see another train depart.\" I have experienced this feeling many times, and while I know that the train next to me is moving forward I get the feeling that the train that I am on is actually moving backwards. I try to capture in the music this blurred sense of motion, the stretching and pulling of pitch and time in opposite directions, and the illusion of harmonic motion when the underlying harmony in essence remains static.\u003c\/p\u003e\n\u003cp\u003eThe second movement is inspired by Schott's word \"Herbstlaubtrittvergnügen,\" which Schott translates word-for-word in English as \"Autumn-Foliage-Strike-Fun.\" He defines it as the delight in \"kicking through piles of autumn leaves.\" I began composing the piece in autumn, and did some personal research in the process (kicking through heaps of leaves myself), and it brought back memories of the fun I had in autumns of my youth. in this very brief movement I try to capture a joyous swaggering of kicking through leaves, the piles reacting differently to each kick, some kicks more successful than others.\u003c\/p\u003e\n\u003cp\u003eThe final movement reflects on the word \"Fingerspitzentanz,\" which translates as \"Fingertips-Dance,\" and Schott defines as \"tiny triumphs of nimble-fingered dexterity,\" such as the act of threading a needle. in the movement, I reflect on the words \"fingertips\" and \"dance,\" creating virtuosic music for the fingertips. The movement opens with the string players only fingering the notes, not bowing or plucking them. As the piece progresses, other uses of the fingertips such as plucking the string (pizzicato) is introduced and the music gains momentum, building in speed and virtuosity. It ends with a \"tiny triumph\" for the ensemble as a whole, where each member must nimbly \"thread the needle,\" if you will, each placing their individual notes into the framework of a larger musical gesture.\u003c\/p\u003e\n\u003cp\u003e\"Missing Words\" was composed for, and is dedicated to, Scharoun Ensemble Berlin. The movement titles of \u003cem\u003eMissing Words\u003c\/em\u003e , and their translations and definitions, quote text from \u003cem\u003eSchottenfreude\u003c\/em\u003e by Ben Schott. Copyright © 2013 by Ben Schott. Used by permission of the author. All rights reserved.\u003c\/p\u003e\n\u003cp\u003e**Movements:\n** I. Eisenbachscheinbewegung (Railway-Illusion-Motion) (3')\u003c\/p\u003e\n\u003cp\u003eII. Herbstlaubtrittvergnügen (Autumn-Foliage-Strike-Fun) (1'30\")\u003c\/p\u003e\n\u003cp\u003eIII. Fingerspitzentanz (Fingertips-Dance) (3')\u003c\/p\u003e\n\u003chr\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43478896607311,"sku":"153-043-SP","price":125.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/184d00b12834710b9d9b45360cc83478.webp?v=1754505849"},{"product_id":"nathan-missing-words-iv-just-theory","title":"Nathan: Missing Words IV","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eCello, Piano, Violin, Clarinet, Flute, Percussion\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Missing Words IV\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790094007825\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 45\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eMissing Words IV,\u003c\/em\u003e Eric Nathan (2018) 18'\nfor flute, clarinet\/bass clarinet, percussion, piano, violin, cello\u003c\/p\u003e\n\u003cp\u003e\"Missing Words IV\" (2018) is the fourth in an ongoing series of compositions composed in homage to Ben Schott's book, Schottenfreude (Blue Rider Press\/Penguin Group), a collection of newly created German words for the contemporary world. The German language has the capability to create new words through the combination of shorter ones and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. with his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.\u003c\/p\u003e\n\u003cp\u003eIn my work, I take three of Schott's words, and their various conceptual associations, as points of creative departure. The first movement responds to the word, \"Erkenntnisspaziergang,\" which Schott directly translates as \"Cognition-Stroll,\" and defines as a walk taken with the specific intent of thinking. I find that I use these \"thinking-walks\" to mull over a thought, trying to come to a deeper understanding of it. in thinking of how to vicariously experience someone else's private moments of thought, I turned to the phenomenon of the \"butt-dial.\" with these calls, the caller unknowingly dials their cell phone from a pocket or bag, and the recipient usually only hears the sounds of the phone jostling to the rhythm of the caller's steps, and can participate in this intimate moment of solitary walking. I used the sounds of a cell phone recording of my own walking as the source material for the sounds of this movement. in such walks, there is a beauty in how the body diligently maintains a walking pace while we consciously drift to other worlds, tuning out the word around us.\u003c\/p\u003e\n\u003cp\u003eThe second movement responds to the word, \"Dreiecksumgleichung,\" which Schott translates as \"Triangle-Reorganization.\" He defines this as when you introduce two friends together and they form a new relationship without you. This movement is conceived as a mini-ballet between two trios of friends. The first section is a virtuosic musical game, where the violin (our protagonist) invites a friend (the cello) to play, and then introduces the bass clarinet to the group. The trio works together admirably, but gradually the cello and bass clarinet find a new attraction to one another and leave the violin. in the second half, we find a similar situation with the flute, piano and percussion. in the end, the flute and violin, each now friendless, find each other and discover they are a good fit, albeit with subtle alterations to their musical motives.\u003c\/p\u003e\n\u003cp\u003eThe final movement is the most abstractly associated with the word that inspired it, \"Tageslichtspielschock,\" which Schott translates as \"Daylight-Show-Shock.\" This word refers to the shocking sensation of experiencing bright daylight when leaving a dark theater. Like the first movement, we find ourselves in an internal world, far removed from the one outside. But, here, perhaps there is a need stay longer and reflect before summoning the strength to return to the light that awaits.\u003c\/p\u003e\n\u003cp\u003e\"Missing Words IV\" was commissioned by Boston Musica Viva. It follows three previous works in the Missing Words series, which were composed for the Berlin Philharmonic's Scharoun Ensemble, American Brass Quintet, and Christopher and Parry Karp, respectively. (Note: the English translations used in the movement titles are quoted directly from the text of Ben Schott's Schottenfreude, 2013).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMovements:\u003c\/strong\u003e\nI. Erkenntnisspaziergang (Cognition-Stroll) (6')\u003c\/p\u003e\n\u003cp\u003eII. Dreiecksumgleichung (Triangle-Reorganization) (5')\u003c\/p\u003e\n\u003cp\u003eIII. Tageslichtspielschock (Daylight-Show-Shock) (7')\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":43490385264719,"sku":"153-046-SP","price":150.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/608ead653cb618f9896cdd5bec55a05d.webp?v=1754505403"},{"product_id":"nathan-dancing-with-js-bach-just-theory","title":"Nathan: Dancing with JS Bach","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Full Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Orchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Dancing with J.S. Bach\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 73\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eDancing with J.S. Bach,\u003c\/em\u003e Eric Nathan (2012) 24-27'\nfor string orchestra\u003c\/p\u003e\n\u003cp\u003eDr. Michael Sporn approached me in the spring of 2012 with the vision for this project, wanting to commission an orchestration of a number of Bach's keyboard works. Calling it \"Dancing with J.S. Bach,\" he wished to create a new dance suite assembled from favorite Bach movements. He provided me with the selections he had in mind, and together we worked to choose the specific movements and set the order of the suite. I have immensely enjoyed this collaboration, arising out of a shared love for the music of J.S. Bach, and the chance to intimately engage with Bach's music.\u003c\/p\u003e\n\u003cp\u003eI cannot claim credit for the inspiration or vision for this suite – Sporn's foresight and deep appreciation of Bach's music has given birth to this joyous new work, one that presents Bach's music in a new context, allowing the music's power to shine in a new light, illuminating connections between movements composed years apart. I have done my best to reflect Bach's voice and style in these orchestrations, occasionally filling in counterpoint and adding other textural elements to realize my interpretation of these works for strings. The ornamentation used is inspired by Angela Hewitt's performances from her CD recordings of Bach's music, recordings that are also meaningful to Sporn.\u003c\/p\u003e\n\u003cp\u003eThis work is commissioned by Michael Sporn for A Far Cry in memory of his wife, Kitte Sporn.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Default Title","offer_id":45031426195535,"sku":"153-010-FS","price":125.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/7773801310aa8318de81e2f11c0f7b50.webp?v=1774620766"},{"product_id":"nathan-dancing-with-js-bach-ii-just-theory","title":"Nathan: Dancing with JS Bach II","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/pt\/collections\/eric-nathan\"\u003eEric Nathan (1983-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOboe, String Orchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Dancing with J.S. Bach II\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 82\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eDancing with J.S. Bach II,\u003c\/em\u003e Eric Nathan (2018) 19'\nfor solo oboe and string orchestra\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Just a Theory Press","offers":[{"title":"Full Score","offer_id":45031426392143,"sku":"153-011-FS","price":125.5,"currency_code":"USD","in_stock":true},{"title":"Solo Part","offer_id":45031426424911,"sku":"153-011-P","price":15.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/57731842aa2354ece97e58a4ee6416ed.webp?v=1774620860"}],"url":"https:\/\/www.ficksmusic.com\/pt\/collections\/eric-nathan.oembed","provider":"Ficks Music","version":"1.0","type":"link"}