Davidson: Paper, Glass, String & Wood
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- Composer: Tina Davidson (1952-)
- Instrumentation: String Quartet (Violin I, Violin II, Viola, Cello)
- Work: Paper, Glass, String, & Wood (2000)
- Size: 8.9 x 12.0 inches
- Pages: 54
Description
_Paper, Glass, String & Wood _was written as part of Tina Davidson's third year as "Composer in the Community" for the Fleisher Art Memorial. Commissioned for the members of The Philadelphia Orchestra, this work is scored for triple string quartet – a professional quartet and two student quartets, one advanced and the other intermediate.
The work represents a coming-together of the two main elements of Davidson's residency – the outreach through the Young Composers program and the commissioning of new works that involve students in both creation and performance. Working with student composers at two area public schools, Davidson taught an extended and advanced version of the Young Composers to over 60 high school students in both Girard Academic Music Program and High School for the Creative and Performing Arts High. The students worked with the composer over several months, creating more than 50 original compositions. They also discussed ideas with Davidson for her new work, which she developed using their musical suggestions as well as some melodies they had written.
Paper, Glass, String & Wood borrows the idea of the four classic elements (earth, air, fire and water) and uses them in terms of the artistic material – paper, glass, string and wood. Each movement is related both a physical sense of the element as well as an intuitive or spiritual sense; thus paper is to dream, glass is to be transparent and brittle, string is to weave (make connections), and wood is to build. The side-by-side nature of the piece is ultimately both a teaching tool and a wonderful opportunity to play ‘elbow to elbow' with a professional quartet, learn the tricks of the trade, and find out, first hand, how to rehearse, perform a newly composed piece, and taste the excitement that comes with performing with mature artists.
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.
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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
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Solo Part with Piano Reduction
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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
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With Audio
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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.
Davidson: Paper, Glass, String & Wood
