Oxford Programming by Theme


Oxford University Press is proud to publish musical works by some of the most significant composers of the 20th and 21st centuries, with a catalogue that includes a broad range of choral, orchestral and chamber music.

Themes

Select a theme from the list below to view playlists and perusal scores.

Views
6 years ago

Cecilia McDowall Everyday Wonders: The Girl from Aleppo

  • Text
  • Choral
  • Refugees
  • Nujeen
  • Aleppo
  • Wonders
  • Mcdowall
  • Oup
  • Oxford
  • Aleppo
for upper voices, SATB, solo violin, and piano Everyday Wonders: The Girl from Aleppo tells the extraordinary story of Nujeen Mustafa, a Kurdish teenager with cerebral palsy forced by war to flee her home and embark on an arduous journey to Europe with her sister. It sets a specially-written text by Kevin Crossley-Holland and is in five movements: 'Orphans of the World' is centred on Nujeen's life in Aleppo; 'Thousands milling at the border', 'I had never seen the sea before', and 'A lost tribe pushed from border to border' depict a refugee's perilous route across borders and waters; and 'Everyday Wonders', in which the teenager reflects on the 'everyday' joys of her new life. In response to the vivid text McDowall employs a wealth of musical effects, including chorales, rhythmic spoken sections, body percussion, and a solo violin part infused with Middle Eastern flavours. The prevailing mood of Nujeen's story is embodied by the final line of a chorale that opens and closes this unique concert work: 'singing the song of life itself.' Find out more: https://global.oup.com/academic/product/everyday-wonders-the-girl-from-aleppo-9780193522589

23 129 & ° ¢ & ° & ?

23 129 & ° ¢ & ° & ? ¢ 6 8 6 8 Œ > œ j Œ œ j Œ Œ > œ. œ œ > œ. œ œ. œ. œ œ > œ. œ œ. œ œ œ j ‰ j Œ œ J œ œ œ J Œ œ œ T V. Shell - ing, loot - ing, bomb- ing, œ œ œ œ j ‰ ‰ ‰ J œ j J œ œ three rooms. We knew we had to leave, œ œ œ œ j J ‰ œ j J œ œ bomb- ing, œ œ # œ ‰ œ j J œ œ T V. Shell - ing, loot - ing, bomb- ing, Œ œ œ Œ Œ œ œ Œ œ œ Ó œ œ Œ bomb- ing, œ œ # œ we knew we had to leave, bomb- ing, Œ œ œ Œ œ œ Ó œ œ bomb- ing, Œ & { 132 ° ¢ & ° & ? ¢ & { 6 8 6 8 6 8 6 8 4 4 4 4 4 4 4 4 4 4 4 4 6 8 6 8 6 8 6 8 6 8 6 8 4 4 4 4 4 4 4 4 4 4 4 4 ? ‰ œ œ ‰ # œ Œ > œ œ œ œ . > œ œ . œ Œ . œ œ œ . > œ œ . œ. œ œ ‰ > œ œ ‰ œ œj œ ˙ œ j œ ˙ & Œ ‰ ‰ ‰ ‰ Œ œ. œ œ > œ. œ œ. > œ œ > > œ œ > > œ œ > > œ œ œ œ œ > . > œ œ . œ. f ‰ for online perusal only œ j œ œ œ œ œ œ œ œ œ œj ‰ œ j œ œ œ œ œj ‰ ‰ ham-mer- ing, bomb - ing. We had to leave, we had to leave, ∑ ‰ œ j J œ œ œ œ # œ œ we knew we had to leave, œ ‰ j œ œ œ J œ œ œ œ j œ ‰ j œ œ J œ œ j œ J œ œ J had to leave, we had to leave. All j j œ œ J J ‰ œ j J f ‰ j œ J # œ œ œ # œ œ ten of us, all ham-mer- ing, bomb - ing. We had to leave, we had to leave. All œ œ j J œ j ‰ ‰ Ó Œ ‰ œ J f œ j J ? Œ œ j œ œ. > œœ œ œ. œœ œ. ˙ ‰ œœœ ‰ > œ œœœ ‰ > œ œœœ ‰ > œ œœœ > œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ > > > > œ. œ . # ˙ Œ œ. > œœ œ œ. œœ œ. f

24 136 & ° ¢ & ‰ ‰ œ œ # œ j ‰ ‰ > f had œ œ # œ j ‰ ‰ > f œ œ # œ j ‰ ‰ > f f f mf œ œ j œ # œ ‰ > to leave, had œ œ j œ # œ ‰ > to leave, had f œ œ j œ # œ ‰ > œ œ # œ j ‰ > mf to leave, had œ œ j œ # œ > to leave, ° & # œ œ œ # œ # œ œ œ # œ mf # ˙ ˙ œ ˙˙ # ˙ ? ¢ ten of us, all ten of us, we knew œ œ œ œ œ œ œ œ ‰ ten of us, all ten of us, we had > œ > we j œ œ œ ‰ J mf > œ > to leave, had had j œ œ J to leave, œ & { ? Œ œ. > œœ œ œ. œœ œ Œ . œ. > œœ œ œ. œœ œ Œ . œ. > œœ œ œ. œœ œ Œ . œ. > œœ œ œ. œœ œ. œ. œ . # ˙ œ. œ . # ˙ œ. œ . ˙ mf œ. œ . ˙ 140 & ‰ œ œ # œ j ‰ ‰ > mf œ œ # œ j ‰ ‰ > mf œ œ # œ j ‰ > mp p ritardando ∑ ° ¢ & ‰ mf mf œ œ j œ # œ ‰ > had to leave, had œ œ j œ # œ ‰ > mp to leave, had œ œ j œ # œ > to leave. p ∑ ° & œ # ˙ for online perusal only mp # ˙ # œ w ˙ p Œ ? ¢ & { ? ‰ Œ mf > œ > had to œ. œ . ˙ j œ œ J leave, œ ‰ mf > œ > to leave, had j œ œ J leave. œ ‰ mp > œ > to leave, had > œ ‰ œ œ j œ J > to leave, had œ. > œœ œ œ. œœ œ Œ . œ. > œœ œ œ. œœ œ Œ . œ. > œœ œ œ. œœ œ. mp œ . . œ ˙ œ. œ . # ˙ j œ œ J p to ritardando Œ œ œ # ˙ leave. # œ œ > œ œ œ œ œ