Format : Score and Parts
SKU: KN.52870S
Recorded in 1971 by the Count Basie Orchestra on their Have A Nice Day album, this classic featuring solo trombone opens and closes with a directed chorale. In between, the pairing of a gospel groove with great ensemble writing makes for a winning combination.
SKU: FG.55011-324-4
ISBN 9790550113244.
Quadri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought. Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola. It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.
SKU: HL.14005423
UPC: 884088440657. 9x12 inches.
A chamber opera in one act for soprano, tenor, baritone and bass soli, TTBB chorus and orchestra, commissioned for the Wells 800 Celebration in 1982. Libretto by Peter Porter. Vocal score with piano reduction. Duration: c. 55 minutes. Orpheus is a Chamber Opera, or perhaps more properly might be described as an 'Opera-Cantata'. It is designed to be performed as a short opera, fully staged and costumed, or as a concert piece. Either way, its structure is dramatic, rather than reflective. It tells the story of Orpheus, probably the most familiar story in music, and en emblem of their art for composers of all periods, as a direct narrative. Since the legend is set in the world of pagan mythology, it has been lightly Christianised for its Church setting. The Aeneid has often been seen as speaking of Christ avant la lettre, and Renaissance Humanists were always willing to identify forerunners of Christian types in Classical personages: in this manner, Orpheus pursues, without undue emphasis, musical parallels with St Francis, St Cecilia and even Adam and Eve.The work is framed briefly by a prologue and epilogue. The Prologue introduces the four solo singers - Hades (bass), Orpheus (tenor), Eurydice (soprano) and Charon (baritone). It also introduces the chorus who do not only portray, at various stages, Orpheus's wedding companions, the denizens of Hell and Blessed Spirits in the Elysian Fields, but also comments on the action as it proceeds.
SKU: GI.G-CD-462
With a highly spirited, uplifting gospel sound, The Mass of Saint Cyprian is truly a celebration! This full mass setting is accessible to varied resources, from cantor and assembly, to the incredible power of an orchestra and gospel choir. Kenneth Louis utilizes call-and-response throughout the mass, making it easy for the assembly to join in. From the pleading sounds of I Am Willing, Lord, and the beautiful, flowing melody of Taste and See, to the uplifting Jesus, You Brought Me All the Way, the Mass of Saint Cyprian is an inspiring way for everyone involved to pray. The live recording of this collection demonstrates just how powerful this setting can be, featuring the wonderfully talented Holy Comforter-Saint Cyprian Catholic Church Gospel Choir and Orchestra in Washington, DC, under the direction of composer Kenneth W. Louis.
SKU: BT.PWM8821
Work on this piece began in the spring of 1899 durng Kar owiczs studies in Berlin and he finished it after graduating and returning home in June 1902. Its premiere took place on March 21, 1903 in Berlin, and the Polish premiere on April 7, 1903 in Lviv. The symphony has a classic, four-movement structure, but in terms of architecture it is much closer to symphonic poems. It consists of the movements: 1. Andante. Allegro 2. Andante non troppo 3. Vivace 4. Allegro maestoso. ''In terms of orchestration and instrumentation technique it represents Kar owiczs early, academic period. The composer still used double wind enriched with piccolo flute, unlike in his later orchestral works the symphonic poems. The orchestration of the work indicates that the composer was guided by Tchaikovskys symphonic model. Kar owicz here still willingly operates with various sound blocks of entire instrumental groups, treating them in a choral manner, with tight chordal pillars'' (Leszek Polony). Before the Polish premiere the composer gave a comprehensive literary programme of the work in the Lviv newspaper S owo Polskie, in which he referred to each consecutive movement of the Symphony. In his last words he wrote, ''We hear a hymn of revival, at first quiet and sweet, then wider and wider, and fuller. Already the time has come; to hear the fanfare. Only one more step! And although the spirits fall again in doubt, we hear a powerful and solemn hymn of rebirth.''.