SKU: ST.Y299
ISBN 9790220223556.
Equinox was written in late 2011 as a showcase for the euphonium quartet Euphony, who gave the premiere at the opening concert of the 'Festival of Brass' at the Royal Northern College of Music in January 2012. Since then, Euphony have played the work extensively, including a performance at the International Tuba Euphonium Conference in June 2012, at the Brucknerhaus Concert Hall in Linz, Austria. The word 'equinox' is derived from the Latin aequi (equal) and nox (night). It is the name given to the twice-yearly occasion when the earth's axis is inclined neither away from nor towards the sun, so that day and night are of the same duration. With this in mind I structured the work from two thematic groups, consisting of sections of equal length. The first, which is heard after a brief introduction, is marked Energico, and its character is marked by sustained, lyrical lines unfolding over an accompaniment of rapid and deftly articulated rhythmical phrases. The second section, slow and expressive, offers the strongest contrast both in mood and tempo. By a further association of ideas, this sharp distinction of material could be thought of as representing the frenzy of daytime in comparison with the tranquillity of night. In the third and final section, figures from both the preceding sections are brought together in a vigorous finale, the interplay of the four parts intended to demonstrate the capabilities of the euphonium to the full. Equinox was the winning entry in the 2012 Stainer & Bell Award for Brass Composition, held at the Royal Welsh College of Music & Drama.
SKU: HL.49045282
ISBN 9781495078996. UPC: 888680651473. 9.0x12.0x0.138 inches. English.
Prayer is one of the composer's most original and sophisticated works. The typical African-American church service seems to be a source for this piece with its interplay of sections and colors, yet the work in form and rhythmic choices is clearly 'classical' and never breaks out into easy imitations of, for example, gospel music.The work opens with the choir singing the spiritual 'My Lord, What a Mornin'' in octaves, sung flat-out a cappella, as might happen in church. The instrumental section following this opening feels very much like a thoughtful response by the congregation. Instruments seem to behave like individual churchgoers, colorfully dressed and answering various episodes with individual thoughts. As for any fears that the mighty organ might drown out the proceedings, Singleton puts that to rest by employing it almost like another choir or section of the choir. The trumpet soloist does not blast us into heaven, it tends to sing and, we find out later, is preparing us for the spiritual 'Where Shall I Be When the Firs' Trumpet Soun'?' Even the tenor soloist behaves much like just another (but still important) instrument.The composer has chosen to not only feature spirituals, but also to set a poetic text called A Christian Prayer, whose main message, almost like some modern-day Kyrie, calls out 'save us teach us ' and extols the importance of humility and the defeat of violence. Singleton has always been a composer who has simultaneously answered the call to carry out what he feels is his duty to his fellow humans while using the finest of his art to do so, and Prayer finds him at the top of his game.- Carman Moore.
SKU: HL.49045281
ISBN 9781495078989. UPC: 888680651466. 9.0x12.0x0.3 inches. English.
SKU: PR.11441443S
UPC: 680160597543. 8.5 x 11 inches.
Adler's new Fanfare was composed in the Summer of 2008 for the Cincinnati University Youth Wind Ensemble, and premiered in March 2010 by that ensemble under the direction of Dr. Ann Porter. The majestic opening gives way to an extended interplay, which the composer has marked as happy and bouncy. Timpani is used sparingly, adding punctuation throughout, joining the ensemble for a rousing finale. For advanced performers.
SKU: HL.48025397
UPC: 196288195498.
Commissioned by Radio France and premiered by the dedicatee Bertrand Chamayou in Paris at the beginning of 2023, the ten-minute work follows the Beethovenian 'development type'. Like Höller's two preceding piano sonatas, it is a one-movement piece. At the centre is the processing of one harmonic, one rhythmic, one scale element each, as well as a 'sound form' as it determines Höller's entire compositional thinking. It is formed from three phrases of 6, 7 and 8, i.e. 21, tones, and 'at times appears like a kind of cantus firmus', according to the composer. The interplay between these very different poles unfolds in many virtuoso figurations, which aresometimes reminiscent of Debussy and which require a meticulous dose of pedaling.
