SKU: HL.14010208
UPC: 884088810993. 8.25x11.75x0.131 inches.
Pythikos Nomos is scored for alto saxophone (or clarinet in A) and piano. It was at the request of John- Edward Kelly that Brian Elias first decide to write a work for saxophone and piano. 'Pythikos Nomos' (Pyhton's Law) is an ancient Greek musical form, invented by Sakadas in 586 BC for the Pythian games to describe the battle between Apollo and the monster on the slopes of Parnassus. It is reputedly the first known genre of programme music. Brian Elias decided that the characteristic sounds of the saxophone would be well suited to ancient Greek rhythms, and was interested in the implications of this form as an early sonata shape. According to legend, Apollo fought and defeated the monster on the site, which came to be called Delphi. He returned to Delphi in triumph after a period of purification escorted by priests singing hymns of praise. Several versions of the instrumental form exist following the general storyline. Brian chose to base his piece around six sections: (i) Peira (introduction), (ii) Kataleusmos (Apollo incites the monster to battle), (iii) Imabikon (the battle), (iv) Spondeion (hymn of victory), (v) Katachoreusis (victory dance) (vi) Syrinxes (the last breaths of the dying monster). The central hymn of victory incorporates a quote from the first Delphic Hym, a surviving fragment of ancient Greek music. This work was written for John-Edward Kelly and Bob J.W.Versteegh, who gave the first performance on 1st July 1988 at the Wigmore Hall, London. Duration c.10 minutes. The score is in C.
SKU: HL.48025044
UPC: 196288021735.
For its farewell season after 35 years, the Nomos Quartet from Hanover created a concert series in 2019 around the works by Ludwig van Beethoven, who had set standards in the field of string quartets. For this event, the ensemble commissioned a new work from Irister Schiphorst, in which the composer at first studied Beethoven's first contribution to the genre. However, her distance from the reference piece became greater than initially planned, and the question that moved centre-stage was: 'How does Beethoven's music resonate in me at all? Is it musical gestures, themes or moods?' The tonal result of this composing self-exploration is - rich in contrast, often noise-like and pushing the dynamic range to its limits - the personal reformulation of Beethovian 'pathos formulas',i. e. signs of passionate experience embodied in the universal cultural heritage.
SKU: HL.48020609
16.75x11.75x0.4 inches.
SKU: HL.48015060
UPC: 073999879841.
Violi n and Keyboard.
SKU: CU.EC10505
SKU: BT.YE0041
'....delicately lyric piece....with its own special ebb and flow....' Notes. Difficult but extremely effective.
Grade: 8.
SKU: ST.YE0041
ISBN 9790570590414.
SKU: BR.KM-2418
World premiere of the complete version: Witten, April 27, 1991
ISBN 9790004501887. 10.5 x 14 inches.
There are two versions of this piece (two ways to perform it):- as a quartet- for two quartets playing simultaneously. In the latter case, the two quartets divide the staves of the page of a score in such a way that one quartet always plays the upper stave, the other quartet the lower. One of the two quartets can be taped beforehand in case it is impossible to make use of two quartets.(Adriana Holszky)CDs:Hangebrucken- Quartett I - Quartett II- DoppelquartettNomos-Quart ett; Pellegrini-QuartettCD cpo 999 112-2Bibliography:Blument aler, Volker: Adriana Holszky; Hangebrucken, in: Streifzuge. Werkkommentare zur Neuen Musik, Saarbrucken 2000, pp. 74-78.Brodsky, Seth: From 1989, or European Music and the Modernist Unconscious, Oakland: University of California Press 2017, pp. 164-166, 262f.Hiekel, Jorn Peter: Antiklassisches, Rauschhaftes, Groteskes. Uberlegungen zu den Werken Hangebrucken und Message, in: Adriana Holszky, hrsg. von Eva-Maria Houben, Saarbrucken 2000, pp. 69-80.ders.: Fremdheit und Vertrautheit. Strategien der Wiederverwendung im Komponieren von Adriana Holszky, in: Neue Zeitschrift fur Musik 178 (2017), Heft 5, pp. 26-29.Holszky, Adriana: Wandernde Klangraume und die Korperlichkeit des Klanges, in: Neue Rundschau 132 (2021), Heft 1, S. 146-158Nonnenmann, Rainer: Die Quadratur des musikalischen Kreises. Aspekte des Streichquartettschaffens im einundzwanzigsten Jahrhundert, in: MusikTexte Heft 162 (August 2019), S. 91-98Schafer-Lembeck, Hans-Ulrich: Du baust dir eine Stadt . Uberlegungen zu Asthetik und Didaktik von Adriana Holszkys Hangebrucken, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 265-285.Zeitler, Ulrich: Hangebrucken - Brucken zur Vergangenheit?, in: Musik und Unterricht 16 (1992), pp. 37-42.Zenck, Martin: Internationalitat und nationale Romantik im 19. und 20. Jahrhundert. Zur Schubert-Rezeption in zwei Jahrhunderten, in: Archiv fur Musikwissenschaft 67 (2010), Heft 4, pp. 261-283.World premiere of the complete version: Witten, April 27, 1991.
SKU: NR.108371