SKU: CF.YPS76
ISBN 9780825870163. UPC: 798408070168. Key: Eb major.
Wind Cycles is a tone poem that will stimulate the listener's imagination. The sport of cycling encompasses many forms: recreational, competitive, and even amusing. After a dramatic introduction, the music moves to portray the incessant pedaling of the riders. Let your imagination fill in the rest of the story as you continue on your journey through Wind Cycles.
SKU: CF.YPS76F
ISBN 9780825870170. UPC: 798408070175.
SKU: HL.49041351
The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of 'Unpublished pieces for an eventual complete edition'. The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor. Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary. The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.
SKU: CA.5022000
ISBN 9790007087371.
Rheinberger's popularity during his lifetime was based, for the most part, on his secular choral music. His cycles for men's and women's choir, most of which were commissioned works, are contained in two volumes of the Complete Edition (vols. 19 and 20). Among this music there are humorous songs and drinking songs, idyllic settings of texts drawn from nature, and songs in a folk-like idiom which are light and easily performable, as well as several more ambitious compositions which were written for choral competitions in Rheinberger's day.
SKU: OU.9780193456969
ISBN 9780193456969. 12 x 8 inches.
For high voice and piano. The words for this cycle are drawn from poems by Philip Larkin. There are three lyrics about the natural world and two typically down-beat townscapes, framed and linked with a setting of the visionary final lines fo the title poem. The whole suggests a musical form as close to a Baroque cantata as to later song cycles.
SKU: SU.80111202
Violin & Clarinet Duration: ' Composed: 1972 Published by: Soundspells Productions Includes set of 2 scores The Garden of My Father's House (1973) is a dramatic rhapsody for violin and clarinet duo. The composer wrote the following: I composed THE GARDEN OF MY FATHER'S HOUSE in 1972 in memory of my father, who was my first music teacher. Although he played many instruments and loved to sing, he could not read a note of music. When I was very young he would sing Gypsy songs, Yiddish folk-songs and Rumanian tunes to me and I would play them back on my clarinet, often with ornaments and variations. Sometimes he would accompany me on the piano; he had a few favorite chords which always seemed to pop up no matter what the tune. The piece is a musical ritual, based on a C-sharp drone, or pedal note, that is heard without interruption, across several ranges, throughout the piece. The violin's drone tremolos, often combined with perfect fifths and quarter-tone tunings, imply the key of Csharp minor. The violin part is always rubato — lyrical, expressive and frequently very passionate. But, most importantly, the violin is always tonal. The clarinet, on the other hand, is atonal, its pitches drawn from the twelve-tone row that I used to write my Cycles of Infinities. The style of the clarinet is contemporary, using wide-range intervals, biting accents and unusual instrumental effects, including fluttertonguing and quarter-tone trills. In combining the 'contrasting' roles of the two instruments, I sought to create a musical ritual-game that would draw energy and bits of information from the polarized instruments. The language of the piece calls the listener's attention to the cogent features of both instrumental personalities in a manner that is somewhat similar to the way in which Yiddish combines German and Hebrew. The drone becomes more and more magnetic and begins to join the parts together until they become one in the final C-sharp unison.
