David Maslanka’s Mountain Roads is set in six movements and follows the model of a Baroque cantata. The piece revolves around two chorale melodies by J.S. Bach, “Alle Menschen müssen sterben” (“All people must die”) and “Wo soll ich fliehen?” (“Where shall I run to?”), which appear in full and as variations as the piece progresses. The title of the work was inspired by a dream the composer had in which he helped to pave new roads; upon waking, he felt as though the dream acted as a metaphor for new life. In setting a chorale that explicitly discusses death to music that Maslanka describes as “exuberant and uplifting,” he acknowledges the paradox of death’s inevitability and the way in which the knowledge makes all things both deeply sweet and deeply sad, while also suggesting movement towards, in his words, “whatever exists beyond.”
Although Mountain Roads was oriented, harmonically and melodically, around the note “D” in its original scoring, the commissioning quartet sought the composer’s permission (which he granted) to produce a version transposed a semitone lower, in which “Db” becomes the note of polarization, thereby allowing the instruments to play in tune more easily and, perhaps, to facilitate some of the piece’s technical demands. This version of the work represents the transposition; the original is also available (WE42).
David Maslanka’s Mountain Roads is set in six movements and follows the model of a Baroque cantata. The piece revolves around two chorale melodies by J.S. Bach, “Alle Menschen mussen sterben” (“All people must die”) and “Wo soll ich fliehen?” (“Where shall I run to?”), which appear in full and as variations as the piece progresses. The title “Mountain Roads” was inspired by a dream the composer had in which he helped to pave new roads; upon waking, he felt as though the dream acted as a metaphor for new life. In setting a chorale that explicitly discusses death to music that Maslanka describes as “exuberant and uplifting,” he acknowledges the paradox of death’s inevitability and the way in which the knowledge makes all things both deeply sweet and deeply sad, while also suggesting movement towards, in his words, “whatever exists beyond.”
Mountain Roads is oriented, harmonically and melodically, around the note “D,” not in the traditional sense of a D major/minor tonality, but with “D” as a note of polarization around which the music revolves. The commissioning quartet sought the composer’s permission (which he granted) to produce a version transposed a semitone lower, in which “Db” becomes the note of polarization; a version of the piece in this transposition is also available (WE43).
Students of all stripes are going to love playing this 2 piano, 8 hands arrangement of a familiar classic. The music is probably the most recognized of Grieg’s many orchestral works in no small part due to being included in Disney’s “Fantasia” film. Articulated melody and sustained chromatic harmonies are passed around between all four performers providing equal interest and difficulty level. Perfect for multiple piano festivals or student recitals as an audience pleaser. (Both scores are included.)
Your students will love playing this high energy piece. Featuring driving rhythms and alternating short lyrical melodies, its fast-paced perpetual “commotion” will capture the attention of any audience. A rousing close to any recital!
Scriptural Reference: Matthew 8:23-27, Matthew 11:5, Matthew 14:22-33, Mark 4:36-41, Mark 6:45-51, Mark 7:32-37, Mark 10:46, Luke 2:25-35, Luke 4:18-19, Luke 7:22, Luke 8:22-25, John 6:15-21, John 9:25, 2 Corinthians 5:17, Revelation 5:9
The talented arranger, Jack Schrader, has perfectly captured the sweeping, epic drama of this powerful contemporary Christian, Christmas song.
Also Available (Choral) (D minor):
SATB •
SSA •
SAB •
TTBB •
2-Part
3-5 Oct Handbell Accompaniment
Accompaniment CD
Orchestra Score and Parts*
Also Available (Vocal):
Medium (D minor)
Low (B-flat minor)
Med and High Duet (D minor)
Trio (D minor)
The medium voice solo, med/high duet, and trio settings in D minor are compatible with the choral octavo, orchestral accompaniment, the handbell accompaniment, and accompaniment CD. The low-voice setting is in a different key and not compatible with the others.
*Orchestra Parts include:
Flute
Oboe
Clarinet
Horns 1 & 2
Trumpets 1, 2 & 3
Trombones 1, 2 & 3
Percussion 1 & 2
Harp
Rhythm
Violin 1
Violin 2
Viola
Cello
Bass
This traditional setting of the timeless carol will develop precise listening for dynamics, balance, and phrasing. Appropriate for church use.
A sensitive addition to the guitar repertoire, this piece for four guitars is a polystylistic exploration of the guitar’s different types of resonance that is by turns lively, rhythmic, and pensive. Appropriate for advanced players.
Contents:
• Slow Train
• Pseudo Pavanne
• Harmonicity
• Vivaldiana
1 Piano, 6 Hands
Three late elementary pianists will enjoy using the entire keyboard to add texture and richness to the famous Chritmas hymn. Melodic duties shift between the middle and top parts, while the interesting foundational bass line is kept flowing by the 3rd performer.
1 Piano, 4 Hands
An fast and showy duet using only simple chord positions. Cut-time with driving eighth notes. Uses full range of keyboard sound. Patriotic theme recital. Articulated with staccatos and accents. G Major, cut time.
