SKU: HL.363089
UPC: 840126955040. 6.75x10.5x0.029 inches.
From Taylor Swift's mid-pandemic release folklore comes this tale of an unbeknownst ??pull? of two souls in space and time, long before they've met. Thematically dense yet dreamily clear and precise, this is Swift at her finest, and Snyder's arrangement captures the effortless pop hooks with ease.
Voir toutes les partitions de Taylor Swift
SKU: HL.363090
UPC: 840126955057. 6.75x10.5x0.029 inches.
From Taylor Swift's mid-pandemic release folklore comes this tale of an unbeknownst “pull” of two souls in space and time, long before they've met. Thematically dense yet dreamily clear and precise, this is Swift at her finest, and Snyder's arrangement captures the effortless pop hooks with ease.
SKU: HL.14032632
UPC: 884088811334. 8.5x11.0x0.088 inches.
Work for Flute, and String Quartet. Quoting Karen Tanaka: The title, Invisible Curve, suggests flexibly curved space-time in four dimensions. The curve occurs because of weight and energy of the space-time. My intention was to create a beautiful projection of an image of the invisible curve into the soundspace. Parts also available (item 14043323).
SKU: HL.14018818
ISBN 9780853609469.
This piece lasts about 12 minutes, and it plays continuously, although it is made up of 16 small movements. Throughout, the four string players form a group: sometimes the clarinet is caught up with them, but more often it is like a person pursuing an independent train of thought: sometimes talking to itself, sometimes conversational, sometimes singing The starting point for my Quintet was Italo Calvino's Invisible Cities: like the book, my piece is composed from many small contrasting ideas that are constantly transforming, some coming to the fore as others recede. This quintet is dedicated to Hugh Sargent, who commissioned it.
SKU: HL.50602253
UPC: 888680987039.
A work for Clarinet and String Quartet commissioned by the Presteigne Festival of Music and the Arts. First performed by Rozenn Le Trionnaire (clarinet) and the Albion Quartet on 24th August 2019 at St Andrew's Church, Presteigne. The title references the prologue of Gazmend Kapllani's book A Short Border Handbook, which states that tales of the invisible, psychological borders experiences in a foreign country rarely reach a conclusion..
SKU: ST.Y296
ISBN 9790220223525.
Natu re and landscape have been the dominant themes of much of Rhian Samuel's vocal music of the last ten years, projected chiefly through the poetry of Anne Stevenson, and in her most recent song-settings, the writings of the Pakistan-born Texas-based poet Zulfikar Ghose. His poem 'Conspiracy of the Clouds' describes how, the clouds having chosen to become invisible, 'Even the astronauts on the space shuttle / looked down on a cloudless America' as hurricanes ravage Louisiana and storms engulf Nebraska. An intriguing conceit in the tradition of magic realism, the text is presented as a scena lasting around 16 minutes, with interpolations from 'Haze' by the nineteenth-century New England transcendentalist Henry David Thoreau. Thus modern fable and romantic nature-description are juxtaposed, and their interaction becomes the source of musical contrasts too. Thoreau's words are assigned predominantly to the vocalist's highest register, those of Ghose to her lower tessitura; and the suggestive and dramatic accompaniment builds tension steadily to the final ironic response of an incredulous American public: not one of awe and wonder, but the question 'Why weren't we told about it?
SKU: WD.080689569876
UPC: 080689569876.
Hymns ...cherished, transcendent, immortal ... a rich part of the fabric of our worship culture ... and never invisible.
SKU: WD.080689546877
UPC: 080689546877.
SKU: FG.706334-11-0
ISBN 979-0-706334-11-0.
A work which won the 2nd prize in the Nordic chamber music competition arranged by the Turku Conservatory for celebrating its 40th anniversary. It was premiered in 2002.
SKU: HL.49046988
ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.
SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).
