SKU: ST.PE27
ISBN 9790220222009.
A collection of five cantatas and three vocal duets, plus In a deep vision's intellectual scene ('The Complaint') for two sopranos, bass and continuo, these nine symphony songs are similar in style and structure to their sacred counterparts, the symphony anthems, and include works to texts by Charles Howe, Abraham Cowley and Anon. CONTENTS A Serenading Song (Soft notes, and gently rais'd) - SB solos, 2 treble recorders, instrumental bass and continuo Hark, Damon, hark! - SB solos, 2 violins, 2 treble recorders, instrumental bass and continuo Hark how the wild musicians sing - TTB solos, 2 violins, instrumental bass and continuo How pleasant is this flow'ry plain - ST solos, 2 treble recorders, instrumental bass and continuo If ever I more riches did desire - SSTB solos, 2 violins, instrumental bass and continuo In a deep vision's intellectual scene (The Complaint) - SSB solos, instrumental bass and continuo Oh! what a scene does entertain my sight! - SB solos, violin, instrumental bass and continuo See where she sits (Weeping) - SB solos, 2 violins, instrumental bass and continuo Soft Notes, and gently rais'd (A Serenading Song) - SB solos, 2 treble recorders instrumental bass and continuo The Complaint (In a deep vision's intellectual scene) - SSB solos, instrumental bass and continuo Weeping (See where she sits) - SB solos, 2 violins, instrumental bass and continuo We reap all the pleasures (incomplete) - STB solos, 2 treble recorders, instrumental bass and continuo.
SKU: PR.111403210
UPC: 680160687947.
With an original text by the composer, Nkeiru Okoye’s WE MET AT THE SYMPHONY is a monodrama in three songs for soprano and string quartet or piano. The songs tell the story of a Black woman surprised to find a Black man in the sea of white faces at an orchestra concert, their subsequent romance, and her struggle to trust another Black man after betrayal and heartbreak. Okoye’s poignant, insightful, and sharp-witted poetry is set to dramatic and striking music that blends sensibilities from jazz, Broadway, and contemporary classical styles, with an unforgettable solo role for the soprano.
SKU: HL.238320
12.0x16.5x0.65 inches.
Symphony No. 2 began its life as Pozcatek, a 'Michael Nyman Band' 'soundtrack' that was written for the Michael Nyman Band to accompany a selection of sequences from post-war Polish films that Nyman selected and edited in 2009. That work has already been networked a Pozcatek for piano trio (recorded by the Fidelio Trio for MN Records) and a song cycle 'Ex Votos Songs' with texts transcribed from Mexican Ex Votos, hence the possibly subtitle for this symphony: Ex Photos. The symphony, which was completed in 2013, consists of four interconnected movements and is Arranged for orchestra. Duration of approximately: 28 minutes.
SKU: HL.14023655
ISBN 9780711977457. 9.0x12.0x0.245 inches.
This cycle of settings of poems by Paul Celan was written between May and July 1990 for Ute Lemper. The texts are taken from the following collections: 'Chanson einer Dame im Schatten' and 'Corona' from Mohn und Gedachtnis(1952), 'Nachtlich geschurzt' from Von Schwelle zu Schwelle (1955), 'Blume' from Sprachgitter (1959), and 'Es war Erde in ihnen' and 'Psalm' from Die Niemandsrose of 1963. The settings of 'Corona' and 'Blume' both introduce an eight-bar chord sequence derived from Chopin's Mazurka in A minor, Op.17 No.4 (the introduction to which was used by Gorecki in his Symphony No.3). Piano and voice version written in 1997 at the request of Hilary Summers.
SKU: HL.14023635
ISBN 9780711930124. UPC: 884088444143. 12.0x9.0x0.347 inches.
For Low Female Voice And Ensemble. This cycle of settings of poems by Paul Celan was written between May and July 1990 for Ute Lemper. The texts are taken from the following collections: 'Chanson einer Dame im Schatten' and 'Corona' from Mohn und Gedachtnis (1952), 'Nachtlich geschurzt' from Von Schwelle zu Schwelle (1955), 'Blume' from Sprachgitter (1959), and 'Es war Erde in ihnen' and 'Psalm' from Die Niemandsrose of 1963. The settings of 'Corona' and 'Blume' both introduce an eight-bar chord sequence derived from Chopin's Mazurka in A minor, Op.17 No.4 (the introduction to which was used by Gorecki in his Symphony No.3).
SKU: HL.48016562
UPC: 073999656831. 8.5x11.0x0.234 inches.
Contents: Andante from Symphony No. 104 (Haydn) * Larghetto from Concerto Grosso No. 12 (Handel) * Adagio from Symphony No. 3 (Mendelssohn) * Andante from Symphony No. 5 (Schubert) * Largo from New World Symphony (Dvorak) * Songs My Mother Taught Me (Dvorak) * Andante from Symphony No. 4 (Schubert) * Largo from Symphony No. 88 (Haydn) * Silent Woods (Dvorak) * Melody from Violoncello Concerto (Dvorak) * Andante from Violin Concerto (Mendelssohn) * Adagio from Symphony No. 97 (Haydn) * Finale from Symphony No. 5 (Dvorak) * Andante Cantabile from Symphony No. 5 (Tchaikovsky).
SKU: HL.48022787
Heinios Symphony No. 2 'Songs of Night and Love' is reminiscent more of a song cycle; it has a baritone soloist in each of its movements. The texts are based on sensual poems by Lassi Nummi. Night or love, or both together are fundamental themes running throughout the symphony. Its dream-like landscapes are dominated by quiet and lyrical tones but the finale has the heat of dark Mediterranean nights.
SKU: HL.50601807
ISBN 9788759838242. UPC: 888680936334. 12.25x16.5x0.74 inches.
Symphony No.5 Op.50 was composed by Carl Nielsen in 1922. Carl Nielsen (1865-1931) was a Danish musician, often seen as his countrys greatest composer. While his operas and songs have become embedded in the cultural heritage of his native Denmark, internationally he is better known for his symphonies and concertos distinguished by his prominent use of Brass instruments and dramatic changes in tonality. His Symphony No.5 (Op. 50, FS. 97) was composed in 1922, and is often seen as his War Symphony, despite the composer denying any such direct influence. Strangely, it is formed of only two movements, and does not have any title. Often said to be a modernist piece, it is constantly restless, some would say pulsating. Brought to fame by Leonard Bernstein in 1962, scholars and musicians arestill trying to understand this enigmatic work.
