Matériel : Partie seule
SKU: BO.B.3338
English comments: I finished writing the Porta Ferrada Double Concerto at the beginning of 2004. I was commissioned to write it for the Porta Ferrada International Music Festival (in Sant Feliu de Guixols).This double concerto for violin, cello and chamber ensemble represents the start of a period in which the pieces that I am working on are all for small ensembles: Davallament, for soprano and piano; Quinteto de la sala de Levante, for clarinet and string quartet; Palau d'hivern, for soprano, clarinet and string quartet; and Concertino Geminis for solo violin and 15 string instruments.Having written large-scale works, I have now gone back to writing chamber music.
We can see how, throughout my career, the sinfonia concertante form is omnipresent in almost all my earlier periods. I still haven't found a satisfactory answer to why I choose a dialogue between a soloist and an instrumental group so often. I would perhaps say that with a solo instrument it seems as if my music has to flow more effortlessly, allowing me to work more easily. Having a main character in the piece's discourse greatly helps me to develop the idea I have about the piece I want to write.
In this case there are two string soloists, the violin and the cello, which of course play a major part, but without this becoming a virtuosic. As for its form, the piece is based on three parts that meet without interruption.It was first performed on 10 August 2005 at the Teatre Auditori Municipal in Sant Feliu de Guixols as part of the 43rd edition of the Porta Ferrada International Festival, by the Porta Ferrada Simfonietta orchestra and the soloists Melodie Giot and Manon Philippe, conducted by Daniel Tosi.
Comentarios del Espanol: Acabe de escribir el Doble Concierto de la Porta Ferrada a principios del ano 2004. Nace como un encargo del Festival Internacional de Musica de la Porta Ferrada (Sant Feliu de Guixols).Este doble concierto, para violin, violonchelo y un conjunto de camara, abre un periodo en el que las obras que trabajo son todas para pequenos conjuntos: Davallament, para soprano y piano; Quinteto de la sala de Levante, para clarinete y cuarteto de cuerda; Palau d'hivern, para soprano, clarinete y cuarteto de cuerda; Concertino Geminis para violin solista y 15 instrumentos de cuerda.Despues de haber escrito obras de gran formato, ahora vuelvo a la musica de camara.
Podemos ver como la forma concertante, a lo largo de toda mi produccion, es omnipresente en casi todas las epocas precedentes. No he encontrado una respuesta satisfactoria al porque de elegir tan a menudo el dialogo entre un solista y un grupo instrumental. Como aproximacion, diria que con un instrumento solista parece ser que mi musica tenga que fluir mas facilmente y que pueda trabajar con mas comodidad. El hecho de tener un personaje principal en el discurso de la partitura me ayuda mucho a desarrollar la idea que tengo sobre la obra que quiero escribir.
En este caso se trata de dos solistas de cuerda, el violin y el violonchelo, que, como es natural, toman un papel primordial sin que, sin embargo, lleguen a alcanzar una parte virtuosistica. La obra, formalmente, se basa en tres partes que se tocan sin interrupcion.
El estreno tuvo lugar el 10 de agosto de 2005 en el Teatre Auditori Municipal de Sant Feliu de Guixols, en el marco del 43 Festival Internacional de la Porta Ferrada, por la orquesta Simfonietta Porta Ferrada y las solistas Melodie Giot y Manon Philippe, bajo la direccion de Daniel Tosi.
SKU: HL.49046797
UPC: 842819115670. 9.0x12.0x0.099 inches.
The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous pianopieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars havebeen presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: PR.144404550
UPC: 680160030859.
After finishing a serious woodwind quintet in the fall of 2001 [Tela Lacerata], I found, in the ensuing months, that its cinders/ashes were still impregnating my eardrums. Therefore, when I set out to write the present string piece, I realized that the musical veins of the quartet, like related cousins, were sharing the same blood as the earlier wind composition. The resultant Fifth Quartet evolved into two large, extended movements, each one containing seven parts that are played without pause. As the list of the various sub-sections clearly indicates, the formal structure of the movements appear to be identical: each with three main parts enveloped by interludes, plus an introduction and coda. However, the principal segments of the first (slow) movement gradually decrease in length, while those of the second (fast) movement increase. In addition, there is a goodly amount of sonic material stolen from the first movement which reappears -- stitched together in a new guise -- into the world of the second. for example, the bulk of Parts B and C of Movement II are lifted bodily, although elaborately modified, from their first appearances in the Introduction and Part A of the fist movement. This offers, I suppose at least a hint of a traditional recapitulation. As was true in the earlier woodwind piece -- both harmonically and melodically -- the embryonic growth of the musical fabric (primarily the tritone and perfect fifth) is omnipresent, almost obsessively, throughout the course of the whole work. These two intervals, not unlike plasticine, habitually transform themselves into the scales, chords, and melodic lines that pervade the texture of the quartet. Owing to the largely unrelieved dramatic flow, the shifting speed, and the often fervent intensity, the quartet places considerable demands on the dexterity, virtuosity, and stamina of the four performers. String Quartet No. 5 is approximately 22 minutes in duration and affectionately dedicated to my violinist wife Elizabeth, as a gift for our 47 years together. It was commissioned by the Corigliano String Quartet, New York, NY. -- Sydney Hodkinson.
SKU: BR.EB-8424
You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).
ISBN 9790004185254. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.
SKU: BR.EB-9074
ISBN 9790004179499. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: VIII version for violoncello Tokyo: October 14, 1989.
SKU: BA.BA08866-90
ISBN 9790006577200. 27 x 19 cm inches. Text: Gautier de Montdorge, Antoine-César / Bersin, Louise-Angélique.
SKU: HL.48024565
Most of us, when confronted with the term graffiti, are likely to associate it with the rather desolate wall scrawlings all over our urban landscapes. However, this is not the whole picture: no less artists than Klee, Miro, Dubuffet, and Picasso were interestedin it (the latter painting examples himself on Parisian walls). In our time, there is the highly interesting and controversial phenomenon of Street Art, which has occasionally wittily succeeded in criticizing the commercialization of cities. At their best, street artists have been able to thwart the expectations created by omnipresent mass media and by advertising - one can find some particularly remarkable examples in metropolises such as Berlin, Paris, or New York. Though this was the initial stimulus for Graffiti, it finally branched into rather different directions: it is only very loosely, ifat all, connected to the phenomenon of Street Art (or to the visual arts). The music is not illustrative nor is it programmatic and the main idea was to compose a music which is not restricted as to time or place, and which offers strong contrasts between different modes of expression. The three movements headings give a hint of the changing modes, moods, and structures of the music. The first movement, Palimpsest,is polydimensional and many-layered; one can hear allusions to a multiplicity of styles. The second movement, Notturno urbano, forms a strong contrast to the hyperactive previous movement. It starts with distant and gradually approaching bell-like sounds, from which the whole movement's musical material is being derived. The instruments are often used in an unconventional way: the winds as well as the strings employ extended techniques, which contributes to the aloofness and the mysteriousness of the movement. The third, highly virtuosic, movement, is a kind of an 'urban passacaglia' (the name of this musical form actually derives from the Spanish 'pasar una calle', 'to walk along a street'). It consists of eight incisive chords, which are played continuously by the brass, albeit always in a different way. Two worlds collide in this movement: the brass attacks are commented upon by flitting interjections of different instruments, which are highly varied in character and length. As a whole, the musical language of Graffiti shifts between roughness and refinement, complexity and transparency. It is rich in contrast and labyrinthine, neither tonal nor atonal. Graffiti calls for great agility, virtuosity, and constant changes of perspective from the musicians; each instrument is being treated as a soloist. Graffiti was commissioned by the Los Angeles Philharmonic Association, Barbican, London; Orchestra Ensemble Kanazawa, Kunststiftung NRW and Ensemble musikFabrik. It was first performed on 26th of February 2013 by the Los Angeles Philharmonic New Music Group conducted b.
SKU: PR.144404960
UPC: 680160545476.
Altho ugh my wife Elizabeth took me on a two-week Caribbean cruise as a pre-70th birthday vacation gift, two short works for string instruments emerged during the trip: Trance for solo violoncello and Sojournen for solo viola. This cello piece invokes two of the many meanings of spell: an incantation and also a short period of time. The solo is a trance-like, fleeting scherzo in a three-part through-composed design. The entire piece is constructed from very limited material stated in the opening gestures with much use made of open strings. Following an introduction, the three brief sections serve as mini-etudes for glissandi tremolandos, measured tremolos, and double-stopped rapid bowing. I think an omnipresent autumnal aural breeze was in my mind since the soloist's oration -- indeed under a spell -- never lets up, even at very low dynamic levels. This constant motion requires dexterity, finesse and an elegant control from the performer. Trance is approximately five minutes in duration, was written while at sea and completed on December 15, 2003, in Saint Johns, Antigua. The score is dedicated to the American cellist Jeffrey Zeigler.
SKU: BR.EB-9397
ISBN 9790004188712. 9 x 12 inches.
SKU: FJ.B1386S
English.
Inspire d by the composer's most entrancing season, this charming lyrical work is a musical depiction of new beginnings, pleasant climates, and an omnipresent feeling of happiness and tranquility. A brief trumpet solo is accompanied by a rich harmonic progression that helps suggest a calmness that everyone should experience from time to time. An excellent way to include a lyrical piece on your next program without the demands of sustaining long phrases.
SKU: OU.9780193557192
ISBN 9780193557192. 12 x 8 inches.
For violin and piano A short lyrical work based on music form the opera A Better Place, and in particular on the melancholy descending scales and rising fifths associated with the character of Suzanne. This is a small character portrait of Suzanne, with the omnipresent character of the river as her backdrop.
SKU: HL.49045318
ISBN 9781495082535. UPC: 888680656669. 9.5x12.0x0.515 inches.
The title refers to three instruments, three movements, and three ways of treating musical time. The tone of the work is serious yet as playful as the title suggests.The first movement, Ratios, opens with a series of seemingly unrelated ideas in tempo ratios of 3:2 and 4:3. As the movement proceeds, the ideas develop, transform, and superimpose in increasingly wide spirals. The slower second movement, Cycles, is a fantasy built on the strict scaffolding of an omnipresent, diatonic cantus firmus set in symmetrically expanding and contracting cycles. The quick finale, Phases, is a moto perpetuo tarantella in which the instruments move in and out of phase as they chase one another. The flowing eighth notes merge and finally unify ideas from the previous movements.
SKU: BT.DHP-1175789-010
English-German-French- Dutch.
Glorioso< /I> was commissioned by, and is dedicated to, the ‘Siena Wind Orchestra’. The work opens after a short aleatoric intro, with an energetic and brassy ‘one tone fanfare’. The note F acts as an omnipresent note, and is also used as a bridge into the second, rather static movement. A noble sounding theme leads to an impressive climax, shortly followed by the spectacular and virtuoso finale, which is built on the musical elements that have been heard before. Stylistically, this sparkling finale is clearly influenced by Dmitri Shostakovich, hence the use of the famous signature used by the Russian Master: C D E flat B (or C flat). A glorious finish to a special workthat highlights various facets of the modern concert band. Glorioso werd geschreven in opdracht van en is opgedragen aan het Japanse Siena Wind Orchestra. Het werk opent na een korte aleatorische intro met een energieke ‘one tone fanfare’, waarin voornamelijk het koper aan zet is. De noot F, als een pedaaltoon alomtegenwoordig, blijft nog even klinken in het aansluitende langzame deel. Na een nobel thema volgt de spectaculaire en virtuoze finale, die voortbouwt op de muzikale componenten die al eerder te horen waren. Stilistisch is in deze wervelende finale onmiskenbaar de invloed van Dmitri Sjostakovitsj aanwezig, het hoofdmotief is tot C D Eb B (of Cb) getransformeerd: het anagram dat de Russische meester vaak als muzikalehandtekening heeft gebruikt. Een glorieus slot aan een bijzonder werk dat diverse facetten van het moderne harmonieorkest aan bod laat komen. Glorioso wurde vom Siena Wind Orchestra in Auftrag gegeben und ist diesem gewidmet. Das Werk beginnt nach einer kurzen, aleatorischen Einleitung mit einer schwungvollen Blechbläser-Fanfare auf nur einem Ton. Dabei ist der Ton F allgegenwärtig und leitet in den langsamen, eher statischen Satz über. Nachdem das nobel klingende Thema zu einem beeindruckenden Höhepunkt geführt hat, setzt sich das fantastische und virtuose Finale aus den zuvor erklungenen Elementen zusammen. Stilistisch ist dieses schwungvolle Finale deutlich von Dmitri Schostakowitsch beeinflusst, daher wird die berühmte musikalische Unterschrift des russischen Meisters verwendet, die dieser oftbenutzte: C D Es H (oder Ces). Ein eindrucksvolles Ende eines besonderen Werkes, das verschiedene Facetten des modernen Blasorchesters hervorhebt. Glorioso est une commande du, et dédicacée au ‘Siena Wind Orchestra’. L’œuvre commence après une courte introduction aléatoire qui comprend une fanfare énergique et cuivrée « sur une note », puisque la note fa est omniprésente et est utilisée comme pont dans le deuxième mouvement plutôt statique. Un thème noble mène vers une apogée impressionnante et le final spectaculaire et virtuose se compose d’éléments musicaux entendus plus tôt. Le style de ce final bouillonnant est évidemment influencé par Dmitri Chostakovitch, ce qui explique l’usage de sa célèbre signature fréquemment utilisée : do ré mi bémol si (ou do bémol). Une fin glorieuse d’uneœuvre spéciale qui met en scène les nombreuses facettes d’un orchestre d’harmonie moderne. Glorioso è stato commissionatodalla Siena Wind Orchestra, ed è a loro dedicato. Il lavoro si apre dopo una breve introduzione aleatoria, con una fanfara energica e dai suoni simili agli ottoni. La nota Fa agisce come una nota onnipresente, ed è anche usata come un ponte nel secondo movimento piuttosto statico. Un tema sonoro nobile porta ad un climax impressionante, seguito a breve distanza dal finale spettacolare e virtuoso, che è costruito sugli elementi musicali che sono stati ascoltati precedentemente. Stilisticamente, questo frizzante finale è chiaramente influenzato da Dmitri Shostakovich, da qui l'uso della famosa firma usata dal Maestro russo: Do Re Mib Si (oDob). Un finale glorioso per un'opera speciale che mette in risalto varie sfaccettature della banda moderna.
SKU: BR.EB-9300
ISBN 9790004187647. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: Stuttgart, Hospitalkirche, March 28, 2018.
SKU: BR.EB-9160
ISBN 9790004181966. 9 x 12 inches.
SKU: PR.14440455S
UPC: 680160030873.
SKU: AP.12-0571570542
ISBN 9780571570546. English.
Simon Dobson's work takes Perth's great River Tay as its inspiration and attempts to portray the eternal nature of the river in both its never-ending flow and its timelessness. The river becomes the omnipresent narrator of the work and as such flows throughout the piece in various guises. There are three movements in And When the River Told, but they flow without a break from one to the next; each one begins with the ancient river and shifts into one of three episodes, centered around a different aspect of Perth and its history in the 800 years since it was granted a charter in 1210 by King William the Lion of Scotland, confirming it as a Royal Burgh. And When the River Told was commissioned by the Scottish Brass Band Association for the Scottish Open Brass Band Championship, held on 20 November 2010 and the Perth Concert Hall.
SKU: HL.49047113
ISBN 9781705189269. UPC: 842819117520. 0.096 inches.
The final movement of the Sonata in A major K. 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous pianopieces of all. Once reserved for all music connoisseurs, later played by every piano student, its opening melody, alienated like a sine tone, is now omnipresent even as a mobile phone ringtone. The arrangement by Fazil Say, created as an effective encore, builds on this popularity. Mounted on the still recognizable classic basic level, typical jazz elements such as syncopation of the top tones and embellishment with chromatic blue notes, embedded in sometimes frenzied chains of sixteenth notes, are found - after the first eight bars have been presented originally. In accordance with the improvisational character, Say himself likes to perform his Alla Turca Jazz in other combinations, for example with the accompaniment of jazz singers or with an orchestra. Perhaps it is surprising that Fazil Say, who was born in Turkey and lives there when not on tour, does not trace Mozart's adaptation of genuinely Turkish music closer to its origins, since many of his compositions such as Black Earth or the Violin Sonata are characterized by a subtle touch Combination of classic-romantic tradition, Turkish folk music and jazz elements. In another Mozart arrangement, the ballet music Patara, which premiered in Vienna in 2006, but now composed on the rococo-esque (and almost equally popular) theme from the first movement of the same A major sonata, Say still has the connection denied to the Alla Turca, albeit inthe opposite direction. In distinctive chamber music instrumentation, the piano stands for Western culture, the ney flute for that of the Orient, atmospherically conveyed by sparse percussion and vocalises by a soprano.
SKU: FJ.B1386
UPC: 674398224241. English.
Inspired by the composer's most entrancing season, this charming lyrical work is a musical depiction of new beginnings, pleasant climates, and an omnipresent feeling of happiness and tranquility. A brief trumpet solo is accompanied by a rich harmonic progression that helps suggest a calmness that everyone should experience from time to time. An excellent way to include a lyrical piece on your next program without the demands of sustaining long phrases.
