Universe Symphony

Par PART ARVO. Chad Smith, Artistic Director of the Los Angeles Philharmonic, has long nurtured the desire to commission a new work by Arvo Pärt. When the Los Angeles Philharmonic submitted this idea to Arvo Pärt in February 2007, the suggestion came at precisely the right moment. Pärt was working at that time with an ancient canon in Church Slavonic containing a prayer to a guardian angel - the connection to 'Los Angeles' was irresistible. Pärt was further inspired to take the commission by the idea of seeing this work performed by the Los Angeles Philharmonic, one of the best orchestras in the world, under its music director Esa-Pekka Salonen, and in the Walt Disney Concert Hall, one of the most exciting concert buildings of our time. The Canberra International Music Festival / Ars Musica Australis and the Sydney Conservatorium of Music joined the project as co-commissioners, thanks to the committed work of director Chris Latham. It may come as a surprise that it has taken so long (37 years) for Pärt to produce his fourth symphony. Symphony No. 3 emerged in 1971, in a time of transition before Pärt had fully developed the 'Tintinnabuli style' which he still employs today. Since developing this style, Pärt has not written any orchestral works which could be called 'symphonic' in scope or structure. With Symphony No. 4, which he calls 'Los Angeles', he creates a reference to this essential phase in his compositional life. Symphony No. 4 incorporates Pärt's 'These Words…' for string orchestra, which was premiered in May 2008 in Copenhagen. As was previously seen in some of Pärt's early instrumental works, all parameters of the text (number of syllables, inflection, punctuation etc) play a decisive role in the structure of the composition. Arvo Pärt has dedicated Symphony No. 4 'Los Angeles' to Mikhail Khodorkovsky./ Répertoire / Orchestre à Cordes, Harpe, Timbales et Percussion

Created in 1994 ReBoot was the first completely computer-animated television series and become a hit worldwide. The setting is in the inner world of a computer system known as ?Mainframe? ? a stunninguniverse where goodconstantly fights the forces of evil. The powerful and dynamic score for the series was composed by Robert Buckley and his wind band adaptation perfectly captures the cinematic richness and heroic energy ofthe original music. Sure to animate anyconcert! Dur: 3:40Recorded by the Troy University Symphony Band ? Ralph Ford conductor

Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre

Over the years, the need for a new edition of Mahler's Symphony #2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerizationalso ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony #2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors have been corrected. (Reinhold Kubik, taken from the preliminary note) Oh believe, my heart, oh believe:Nothing is lost with thee!Thine is what thou hast desired,What thou hast loved, what thou hast fought for!(Gustav Mahler in the Finale of Symphony #2) / Choeur Mixte (SATB) Et Piano

Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Symphony No. 2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerization also ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony No. 2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors has been corrected./ Répertoire / Solistes, Choeur et Orchestre

Following the earlier volumes in the Studies in Musical Genesis and Structure series Mahler's Fourth Symphony is a study of origins of one of Mahler's most popular and accessible works. James Zychowicz examines how the composition evolved from the earliest ideas to the finished score and in doing so sheds new light on Mahler's working process.Readership: Students and scholars of Mahler nineteenth-century music and history of symphony

Das Lied von der Nacht. Par SZYMANOWSKI KAROL. Universal Edition issues a handsome new study score of one of Szymanowski's finest works. The Symphony's foundation is a captivating Persian poem, and text is included in Polish, German, and English./ Répertoire / Ténor, Chœur Mixte SATB ad lib et Orchestre

Auferstehungssymphonie. Par MAHLER GUSTAV. Mahler's Second Symphony (Resurrection) is now published as a two-volume set from Universal Edition. The new revised edition is based upon the Critical Edition (2010)./ Répertoire / Solistes, Choeur et Orchestre

Premiered at the Borealis Festival Bergen in March 2009 this single movement symphony for solo organ is a deconstruction and devlopment of an unfinished Bach chorale prelude. With a powerful ending this is a challenging and highly rewarding work.

William Walton Edition-This edition of Walton's first symphony has been offprinted from the William Walton Edition full score and combines the scholarship of the Edition with the practical benefits of a study score format.

Finnissy's Organ Symphony No. 2 is based in the sound world of late nineteenth-century France. Although there is advice on the intended style the approach to registration is flexible allowing a range of interpretation and enjoyment for performer and listener alike.

A critical edition of William Walton's Symphony No.2 from 1959-1960. The score has been entirely re-set and new orchestral parts on hire produced to match the new edition.

Free Running is an exciting high velocity tour-de-force that will keep both musicians and the audience on the edge of their seats. Inspiration for the work came from the pointillistic paintings of Seurat (who createdimages by using tiny spots of primary colors on his canvas) and from Parkour a form of urban acrobatics in which participants known as free runners use the structures of the rural landscape to perform catlike leaps and sprints.The resulting creation is a non-stop piece of music made up of only staccato notes in a constant rhythm moving through different sections of the ensemble. Free Running was commissioned by the Troy University Symphony Bandfor the 2011 Alabama Music Educators Association Convention. Ideal for concert or festival use it is guaranteed to leave the audience breathless! Dur: 5:10

The Unknown Journey fut commandé par le Kwansei Gakuin University Symphony Band un orchestre d?harmonie établi en 1954 qui est désormais l?un des meilleurs orchestres universitaires du Japon. Le compositeur choisit ce titre puisque pendantle développement du morceau il semblait créer son propre élan commençant lentement et accélérant continuellement. Vers la fin il devient progressivement semblable aux dernières mesures de La Valse de Ravel un morceau qui caractériseparfaitement l?idée d?élan irrépressible.