Examiner: PENTATONE tries to get the jump on Christmas music marketing

Oxingale Music

29 October 2015

“Woolf has mustered just the right combination of sonorities and thematic material that makes the perfect glove to fit Wilner’s poetic hand.”

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Herald-Times: Chamber Choir Focuses on Musical, Verbal Message

Oxingale Music

March 5, 2013

The Bloomington chamber choir Voces Novae performs with artistic integrity and is motivated by social conscience.

At the heart of the concert was a performance of “Après Moi, le Déluge,”

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La Fabrique Culturelle TV: Cordes et discorde

06 May 2016

Watch a four minute video of Luna Pearl Woolf’s 12 May 2016 Triptyque program at the Salle Bourgie, Montreal Museum of Fine Arts from La Fabrique Culturelle TV. The program features Mélange à trois, One to One to One, and Rumi: Quatrains of Love.
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BETTER GODS

Better Gods, an opera by composer Luna Pearl Woolf and librettist Caitlin Vincent, commissioned by the Washington National Opera, Francesca Zambello, Artistic Director, Continue reading

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BroadwayWorld Review: BETTER GODS Soars at the Kennedy Center

January 11, 2016

“Ms. Woolf’s gorgeous score is underlined by the use of traditional Hawaiian chants and her score utilized authentic instruments like the nose flute, Kala’au (percussive sticks), and Ili’ili (castanets), that are native to the island.” Continue reading

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DC Metro Theater Arts: Review: ‘Better Gods’ at The Washington National Opera

January 9, 2016

“Woolf’s new and original composition uses Hawaiian instruments to add an audible authenticity to the story. Throughout the opera the nose flute, Kalaʻau (warrior sticks made from strawberry guava trees), and ʻIliʻili (stone castanets) amplify the sadness and desperation of the Queen to maintain Hawaii’s culture.” Continue reading

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ConcertoNet: December Celebration – New Carols by Seven American Composers

07 December 2015

“…in Luna Pearl Woolf’s How Bright the Darkness, an impressively vivid piece for women’s choir, baritone solo, strings, percussion, and harp. Woolf’s orchestration and harmonies paint the sparseness of nature. It is a piece where the listener can actually hear the sounds of nature on the darkest day, the solstice.”
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Strings Magazine: Matt Haimovitz Returns to the Solo Suites and Intimate Venues

December 2015

The cutting-edge cellist finds himself returning back to Bach.

It’s 7:30 on a balmy spring weeknight at Crown Station Pub in Charlotte, North Carolina, and the intimate club is filling with people finding seats and ordering beer. All attention focuses on the low riser at the end of the bar, where instead of the pub’s usual bill of folk or rock musicians, solo cellist Matt Haimovitz is seated. Seeming to merge with his instrument, Haimovitz skates his bow across the 1710 Goffriller’s strings as the warm, mellifluous tones of J. S.  Bach’s Suite No. 2 in D minor radiates from the stage and envelops the rapt audience.

Using Bach’s Six Suites for Unaccompanied Cello as his vehicle, Haimovitz, 44, pioneered bringing classical music out of the concert halls and into clubs back in 2000. Now, Haimovitz is going back to the barrooms, and the Bach, that earned him notoriety 15 years ago.

“There’s such a rich, complete story spread over Bach’s six suites,” Haimovitz says. “The complexity of some of these movements is unbelievable. If you are able to keep track of them, it’s dizzying. I don’t think any drug can match that.”

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Examiner: PENTATONE tries to get the jump on Christmas music marketing

29 October 2015

“Woolf has mustered just the right combination of sonorities and thematic material that makes the perfect glove to fit Wilner’s poetic hand.” Continue reading

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New York Times: What Happens When Bach Visits the Cafeteria

by
October 27, 2015

Students eating at Columbia University’s John Jay Dining Hall, an airy den reverberating with undergraduate chatter, were in for a surprise last Wednesday. When they walked in for dinner, they found Matt Haimovitz — the cellist who helped to start a trend by performing in places like an East Village punk club and a pizzeria in Jackson, Miss. — playing Bach.

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Image Credit: Michael George for the New York Times.

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Primephonic: To Inspire, To Create, To Engage and To Empower

18 August 2015

On this day in 1920, Continue reading

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How Bright the Darkness

By Luna Pearl Woolf | For Treble Choir, Harp, Percussion, and String Orchestra | 6′ Continue reading

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We Are God’s Children / MotherSongs

By Luna Pearl Woolf | For Mezzo-Soprano and String Quartet  | 9′ Continue reading

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Duo

By Luna Pearl Woolf | For Violin and Cello | 16′

Title: Duo
Composer:
Luna Pearl Woolf
Year Composed:
2014
Instrumentation:
Violin and Cello
Duration:
16′
Format: Score and Parts
Catalogue Number:
OM0153
Printed Edition Price: 40.00 USD
PDF Price: 35.00 USD

Premiered in 2015 by Matt Haimovitz and Andy Simionescu.

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Like As the Waves

By Diana Rosenblum| For Three Female Voices and Violoncello | 5′ Continue reading

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Sonnet 60 of William Shakespeare

By Božo Banović | For Three Female Voices and Violoncello | 7′ Continue reading

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How Bright the Darkness

By Luna Pearl Woolf | For Solo Baritone, Women’s Chorus, Harp, Percussion, and String Orchestra | 6′ Continue reading

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Travels

By Lewis Spratlan | For Male Chorus, TTBB, and Piano, four-hands | 9′

Title: Travels
Composer:
Lewis Spratlan
Text by:
Mary Jo Salter and Brad Leithauser
Year Composed: 2011
Instrumentation:
For Male Chorus, TTBB, and Piano, four-hands
Duration: 9′
Format: Full Score
Catalogue Number:
OM0420
Printed Edition Price: 40.00 USD

Choral materials are also available for rent or at a discount for multiple copies.  Please contact us for more information.

Commissioned by the Rutgers University Glee Club, Patrick Gardner, Conductor, and premiered by Daniel Spratlan on the podium.

The itinerary begins bouncing in 6/8 time for Australia: Kangaroo; then a delightful play on musical and textual palindromes arrives in the evocative second movement, “II. New Jersey: Halted Train in the Rain.” The journey ends in Paris, where a musical rainbow swells in choir and piano. Then– “the dazzle of this monumental prism, cut by drizzle, is that it vanishes.”

I.

KANGAROO
Like flustered actors
who don’t know what to do
with their hands, they’re hanging
around in awkward clusters,
paws dangling, ears pricked for a cue.

II.

HALTED TRAIN
It’s too perfect: can the small boy on the train
really be an OTTO (as finger-painted
on the steamed-up window), a name

III.

A RAINBOW OVER THE SEINE
Noiseless at first, a spray
of mist in the face, a nosegay
of moisture never
destined to be a downpour.

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Suspense

By Luna Pearl Woolf | For Eight Cellos and Four Percussion | 11′ Continue reading

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L’Opéra: On Se Souviens De Toi, Sappho (We Remember You, Sappho)

April 12, 2015

OrpheusShot1

Présenté pour la première fois avec mis en scène, [à la compagnie Ballet-Opéra-Pantomime, directeur Hubert Tanguay-Labrosse] l’opéra Orpheus on Sappho’s Shore de Luna Pearl Woolf s’est révélé une fascinante et onirique proposition artistique: la rencontre de ces deux figures de la Grèce antique, Orphee et Sappho, deux allegories anciennes de l’art et de la passion. L’oeuvre s’enracine dans l’idéal des grans madrigalistes italiens qui désiraient marier poésie et musique, danse et theater. D’ailleurs, la partition de Woolf comporte de nombreuse mélopées ayant un je-ne-sais-quoi de baroque dans la souplesse et la délicatesse de la ligne vocale. La compositrice fait prevue d’une belle sensibilité et d’un grand attachement pour ses personnages, ce qui reflète dans une musique simple et brillante, efficace et théàtrale. Et comment ne pas être touché à la fin de l’opéra par ce vers authentique de Sappho: “Je crois qu’un jour, on se souviendra de nous,” chanté avec toute la douceur du monde sur un éclairage entre chien et loup.

Jana Miller et Hubert Tanguay-LabrossePresented for the first time with staging [by Québec company Ballet-Opéra-Pantomime, director Hubert Tanguay-Labrosse], the opera Orpheus on Sappho’s Shore by Luna Pearl Woolf proved itself a fascinating and dreamy artistic proposal: the meeting of two figures of ancient Greece, Orpheus and Sappho – two ancient allegories for art and passion. The work is rooted in the ideals of the Italian madrigalists who sought to combine poetry with music, dance and theater. Moreover, Woolf’s score includes numerous melodies with a Baroque je-ne-sais-quoi in the suppleness and delicacy of their vocal lines. The composer proves herself to have a lovely sensitivity and great affection for her characters, reflected in a music both natural and brilliant, effective and theatrical. And how not to be touched at the end of the opera by the words of the real Sappho: “I think someone will remember us,” sung with all the sweetness in the world on a twilit stage.

By: Éric Champagne

Read at: L’Opéra

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