SKU: LM.FAC439
ISBN 9790231708240.
Le Petit Ours en TGV - Le Petit Ours en jet - Le Petit Ours en yacht - Le Petit Ours en vaisseau spatial.
SKU: CF.CM9751
ISBN 9781491162392. UPC: 680160921140. Key: E lydian. English. The Vastness of the Universe Jonas Hallgrimsson (1807-1845).
About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for tenor-bass choirs. Director’s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
SKU: CF.CM9747
ISBN 9781491162354. UPC: 680160921102. Key: E lydian. English. The Vastness of the Universe Jonas Hallgrimsson (1807-1845).
About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.About Jónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry elicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward.A good friend asked if I would write a song for her ensemble. The original voicing, for SAB choir, contained parameters in that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. I believe it is equally as exciting, accessible and challenging for treble choirs.Note to the DirectorTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles.Accompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
SKU: SU.80101445
Verbum supernum prodiens (2016) was written for the 107th Annual Christmas Carol Services of The Memorial Church, Harvard University, December 2016. It is dedicated to the memory of composer Pauline Oliveros (1932-2016). Subtitled a chantscape, the music is an atmospheric evocation of the text through chant-like music that builds to the end. This work is intended for performance in a reverberant space with the three groups of voices spatially separated around the audience. Instrumentation: Voices (in three spatially-separated groups) and Organ Duration: 2016 Composed: 3'30 Published by: Zimbel Press.
SKU: CF.CM9730
ISBN 9781491161098. UPC: 680160919697. Key: E lydian. English. The Vastness of the Universe Jonas Hallgrimsson (1807-1845).
About Jonas Halgrimsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him. The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry illicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven.... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward. https://digicoll.library. wisc.edu/Jonas/Alheim/Alh eim.html A good friend asked if I would write a song for her ensemble. The parameters were that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson's writings. There is such a need for three-part music that is both exciting, accessible, and challenging. Director's Note Truly consider how the work can come to 'life' off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page! Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensembles Accompaniment Note The accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.AboutJónas Halgrímsson (1807-1845) was an Icelandic poet, author and naturalist, who is considered one of Iceland's most renowned poets. Considered a Romantic writer, the strong imagery in his poetry was influenced heavily by the landscapes around him.The imagery, excitement, and curiosity of the universe leapt off the page and the music almost wrote itself. Reflecting on the cosmos and origin of the heavens, the poetry illicits excitement and stirs spatial imagery - ...speeding spark of light, ...wings swifter than wind..., ...I watched the stars...rise from the still stream of heaven.... The pure and almost child-like fascination with the universe and its expansion and progression fuels the perpetual rhythm of the work as it continually pushes forward. https://digicoll.library. wisc.edu/Jonas/Alheim/Alh eim.htmlA good friend asked if I would write a song for her ensemble. The parameters were that it had to be three-part with a limited range in the Bass part. With these stipulations I began to write. I searched for something that would be exciting for them and landed on Jonas Halgrimsson’s writings. There is such a need for three-part music that is both exciting, accessible, and challenging. Director’ s NoteTruly consider how the work can come to ‘life’ off the page. Rise and fall with phrase and sometimes each note. The magic exists beyond the ink on the page!Consideration to range, tessitura, and content was all considered as part of this process in creating music that is accessible to all programs and ensemblesAccompaniment NoteThe accompaniment can look intimidating, but please feel free to alter the pulsing eighth notes in the left hand with the eighth notes in the right-hand so it creates a compound rhythm. So long as the momentum of the work is pressed onward, you are doing this work justice.
SKU: CF.O5445
ISBN 9780825840449. UPC: 798408040444. 9 X 14 inches.
Written for the late Robert Shaw and the Atlanta Symphony Orchestra in 1983, Desert Forests is one of the most successful of Brant's spatial works for conventional-sized symphony orchestra. The score mandates that the higher woodwinds (piccolos, flutes, oboes, clarinets) be stationed in a balcony at the back of the hall and the trumpets and trombones in boxes or balconies on opposite sides of the hall. There is also an optional improvised piano-obbligato. A recommended seating diagram for the stage instruments (also unusually arranged) is included in the score and was used to great effect in the performances conducted by Kurt Masur with the New York Philharmonic in May 1994. This extraordinary work expands the idea of bitonality and spatiality as a structural device to create a fifteen minute exercise in ecstatic polyphony, inspired, according to the composer by a visit to a forest of saguro cactus in Saguro National Monument, near Tucson, Arizona. Complete performance materials are available on rental.
SKU: BT.DHP-1115085-140
9x12 inches. English-German-French-Dut ch.
On June 13, 2010 the capsule from the Hayabusa satellite successfully returned to earth after enduring a grueling six billion kilometer, seven year journey to retrieve samples from the Hayabusa meteor. Composer Satoshi Yagisawa was asked to write a piece to commemorate this momentous occasion. Fanfare - HAYABUSA’s premiere was so successful that the piece was performed a second time in response to the audience’s standing ovation. Out of this World! Op 13 juni 2010 keerde de ruimtecapsule van de ruimtesonde Hayabusa terug op aarde. Dit was na een bijzondere reis waarbij ze onder moeilijke omstandigheden bodemmonsters had genomen van de meteoriet Hayabusa. De reis had zeven jaargeduurd en er was zes miljard kilometer afgelegd! De componist Satoshi Yagisawa kreeg de opdracht een werk te schrijven ter herinnering aan deze succesvolle missie. Na de première werd Fanfare HAYABUSA op wens van het publiek onderstaande ovatie nog een keer gespeeld.Die Kapsel der Raumsonde Hayabusa kehrte am 13. Juni 2010 zur Erde zurück - nachdem sie unter diversen Schwierigkeiten Bodenproben vom Meteoriten Hayabusa gesammelt und eine siebenjährige Reise von sechs Milliarden Kilometern zurückgelegt hatte! Der Komponist Satoshi Yagisawa wurde gebeten, ein Stück zur Erinnerung an die erfolgreiche Mission, zu schreiben. Nach der Premiere wurde Fanfare - HAYABUSA auf Wunsch des Publikums noch einmal als Zugabe unter stehenden Ovationen wiederholt.La sonde spatiale Hayabusa a réalisé sa rentrée atmosphérique en juin 2010. Son odyssée interplanétaire, qui aura duré sept années, l’aura amenée parcourir plus de six milliards de kilomètres. Satoshi Yagisawa a été sollicité afin de composer une pièce célébrant le succès de la mission. Fanfare - HAYABUSA provoqua un tel engouement lors de sa création que l’orchestre dut le rejouer une nouvelle fois, sous un tonnerre d’applaudissements. La sonda spaziale Hayabusa è rientrata nell’atmosfera terrestre il 13 giugno 2010 cadendo nel deserto australiano, dopo un viaggio di circa due miliardi di chilometri. Lanciata nello spazio nel 2003, è atterrata su un asteroide due anni più tardi per raccogliere campioni di roccia. Satoshi Yagisawa è stato incaricato di comporre un brano per celebrare il successo della missione. La prima esecuzione mondiale dell’opera si è rivelata un successo straordinario.
SKU: HL.50601443
ISBN 9781540033017. UPC: 888680784850.
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
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: BA.BA11027
ISBN 9790006542673. 41.4 x 29.5 cm inches. Language: German.
The title “Guarda in gui” (Look Down) works on two levels. On the one hand it refers to looking into one’s own self and on the other hand to the low base of this composition which is conceived from the bass and is rich in overtones. The seemingly endless pulsating pedal tones and the spatial impact of the piece are supported by the freely-composed non semantic syllables which have a compelling effect. The text lacks a semantic meaning but is rich in abundant colourfulness and an immense force of expression. The intricacy of voices above the bass which combines differentiated vowel sounds as well as noise sounds reflects Charlotte Seither's perception of the voice as the most direct human form of expression.
SKU: CF.SC49
ISBN 9780825847196. UPC: 798408047191. 9 X 12 inches.
An early (1938) non-spatial work by Henry Brant, whose Ice Field won the Pulitzer Prize for Music, Whoopee in D is scored for a modestlysized orchestra of single winds, 2 clarinets, 2 horns, 2 trumpets, trombone, piano, percussion (1 player) and strings. The piece satirizes the standard light opera/musical comedy type of overture. The composer describes it as the prelude to a comic-strip opera as revealed in a nightmare. In a brief and rollicking four minutes, Brant takes a fragment of Bach's accompanying melody from the choral prelude Wachet auf! (also familiar from its use in Cantata No. 140) and subjects it to several clever parody-variations in polka, rumba and march style. A tour de force for a chamber orchestra, Whoopee in D has always been a great audience pleaser. Orchestral parts are available on rental.
SKU: HL.49047209
UPC: 196288159513.
In my sixth work for a string quartet, there is a very simple melody concealed in the background. That melody (distant voices) is played within an extremely slow tempo, and the notes which form the melody gain different textures by becoming disassembled, and played by different techniques. In our daily lives, our inner voices become concealed by our daily customs. The act of composing, tome, is to find out that concealed distant voices, make those voices spatialized and construct them within the musical time. This work is dedicated to Alois Lageder. Toshio Hosokawa.
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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: CA.4067649
ISBN 9790007220167. Text language: Latin.
The Missa Sancti Henrici is a work of Biber's later years. It is one of his largest and most mature pieces of church music. With the skillful alternation of the stile antico and the stile moderno, as well as the contrast between Solo and Tutti, Biber attained a structure within the individual movements rich in variety. In its original architectural conception, Salzburg Cathedral had four galleries, each with its own organ, on the piers supporting the dome at the crossing. This conception created the spatial prerequisite for double- and polychoral performance tradition on the Venetian model. Biber's magnificent sacred music brought this tradition to a point of culmination in a ,,colossal style that was unique in transalpine Europe. Score and part available separately - see item CA.4067600.
SKU: HL.232725
ISBN 9788759880968.
Prog ramme Note BENT SORENSEN - BENEDICTUS (c. 7' ) Benedictus makes the listener listen to the world through a veil of voices wrapped tightly around the listener. Listening to the world is listening inwardly - Think before you listen! Eighteen months ago I was on Gotland wandering among walls in the small streets, in the church, and I thought that it was actually a Benedictus place - the old Catholicism seen and heard through new Nordic eyes and ears. Benedictus can of course be performed in the church in Visby or in other similar places, but it does not need to be a church. I would suggest having it on a programme with spatial music rather than a traditional choralprogramme. EA, vocal, instrumental works where the sound comes from everywhere around. Bent Sorensen 2008.
SKU: CA.4067613
ISBN 9790007220112. Language: Latin.
SKU: CA.739300
ISBN 9790007172268. Text language: Latin.
Veni was composed by Kay Johannsen in November 2015. Similar to his 2010 work Et vidimus gloriam eius for four choral groups (SSA, TTB, SATB, SATB) and organ based on the beginning of St John's Gospel, Veni requires a spatial separation of three four-part choirs. The starting point of the composition is the 12th century hymn Veni redemptor gentium by St Ambrose of Milan, which Martin Luther used as the basis of his 1524 hymn Nun komm, der Heiland. The four sections of the cantus firmus are sung in turn by all the basses, altos, sopranos, and tenors, each part at a louder dynamic than the other parts. For the accompanying voices Johannsen uses different principles of canonic technique and motivic variation, with most of the material derived from the cantus firmus. The organ part of this 12-part chorale arrangement provides a harmonic orientation, but is completely independent and introduces both moments of rhythmic accentuation and elements of veiling. The choral writing is also deepened and elevated by the organ sounds derived from the text. Despite all the motivic links between the parts, the music has a direct sensual effect as a sound collage. The work ends with three increasingly distant, homophonic invocations of Veni: the plea Komm occurs at the beginning as at the end.
SKU: BR.BHM-7813
Here you can order the perfomance material.
Award ed the German Music Edition Prize 2019
ISBN 9790004650394. 4 x 6.5 inches.
Schwankunge n am Rand has been filmed by us twice - once conducted by Emilio Pomarico with the Rundfunk-Sinfonieorcheste r [Radio Symphony Orchestra] Berlin (Radialsystem Berlin, January 2015), once with Brad Lubman and the Ensemble Modern Orchestra (Frankfurt/Wiesbaden, November 2015). Originating from the detailed partial rehearsal recordings with the Ensemble Modern are three films, each approximately 15 minutes long (winds / strings / thunder sheets, and pianos). These are supplemented by rehearsal scenes with the Rundfunk-Sinfonieorcheste r Berlin, in which Helmut Lachenmann explains not only playing techniques, but also such piece-specific issues as the throw-ins and the use of the pack or baking parchment paper. The rehearsals sometimes took place in German, sometimes in English - the German-speaking passages in the films are subtitled in English. The concert recording shows the performance in Berlin, which was particularly convincing due to the spatial arrangement in the radial system. (Wiebke Popel)Here you can order the perfomance material. Awarded the German Music Edition Prize 2019.
SKU: HL.50600470
8.25x11.75x0.183 inches.
“In early 2006 I was commissioned to write a piece to be premiered in a church. Before beginning work on it, I tested the acoustics there, according to which the compositional concept developed. Somewhat later I began to compose the piece 'with the church', so to speak. During the process of composition, however, the music gradually distanced itself from the original spatial conditions and developed into a piece whose characteristics were transformed into a church-acoustical structure. 'I see your music when I hear it', a listener once said to me. Does one really see the music? Can fragrances be heard? Or can one smell colours? This 5-part composition is music in which the tones move in space on different levels, even when they are sometimes very quiet and slow; they are clear and transparent even when they are apparently dense, complicated and energetic.” (Xiaoyong Chen).
SKU: BT.DHP-1175838-130
Destination Moon was first performed by Cory Band at the 2017 European Championships in Ostend, Belgium, and is inspired by the Belgian comic-book hero Tintin. The first part is called ‘Science’ and describes the development of the theory of space travel. The second part is ‘Humanity’ which addresses human concerns and philosophies about our place in the universe. The third part is ‘The Launch’ which ends with a repetition of the words ‘Earth to Moon Rocket are you receiving me?’ as the rocket vanishes into a tiny speck in the sky.Destinatio n Moon werd voor het eerst vertolkt door de Cory Band, tijdens de Europese Brassband Kampioenschappen van 2017 in Oostende, België. Het werk is ge nspireerd op de avonturen van de Belgische stripheld Kuifje. Het eerste deel, ‘Science’, beschrijft de ontwikkeling van de theorie achter de ruimtevaart. Het tweede deel heet ‘Humanity’: het verklankt verschillende menselijke overwegingen en filosofieën rondom onze plaats in het universum; de titel van het derde deel is ‘The Launch’: dit gedeelte eindigt met een herhaling van de woorden ‘Earth to Moon Rocket are you receiving me?’ terwijl de raket verdwijnt tot hij nog slechts een stipje aan de hemel is.Destination Moon wurde 2017 im Rahmen der 40. European Brass Band Championships in Ostende (Belgien) von der Cory Band uraufgeführt. Als Inspiration für das Stück diente der belgische Comic-Held Tintin (Tim und Struppi“). Der erste Teil, Science“, beschreibt die Entwicklung der Wissenschaftler im Bereich der Raumfahrt. Der zweite Teil, Humanity“, beschäftigt sich mit den menschlichen Gedanken und Philosophien über unseren Platz im Universum. Der dritte Teil, The Launch“, endet mit der Wiederholung der Worte Erde an Mondrakete können Sie mich hören?“, während die Mondrakete als winziger Fleck im Himmel verschwindet.Inte rprété pour la première fois par le Cory Band aux Championnats d’Europe en 2017 Ostende, Belgique, Destination Moon s’inspire du héros belge de BD Tintin, dans Objectif Lune. La première partie au sous-titre ‘Science’ décrit la mise au point de la théorie de navigation spatiale par les scientifiques ; la deuxième partie, ‘Humanity’, aborde les inquiétudes et philosophies humaines au sujet de notre place dans l’univers ; et la troisième partie ‘The Launch’ finit par une répétition des mots ‘Earth to Moon Rocket are you receiving me ?’ tandis que la fusée disparaît dans le ciel.
