SKU: DM.DMP-114130
ISBN 9790365321049.
A set of pieces for 2 clarinets, composed by a very fine female composer from the Netherlands. The mirror canon is a real piece of inventivity, turn the page upside down and. . . Play the same piece !!!
SKU: BA.BA07472
ISBN 9790006501830. 42 x 29.5 cm inches. Language: German.
World Premiere 25/05/1997, Hannover.
SKU: HL.49032839
ISBN 9790001123808. UPC: 884088100001. 9.0x12.0x0.284 inches.
Johanna Senfter studied music at the Conservatoire in Frankfurt and then in 1908/9 with Max Reger at the Leipzig Conservatoire. Her late Romantic music draws inspiration from the polyphonic structure of Reger and Bach, as well as from the complex use of sounds and motifs in the music of J. Brahms, which did not leave her in an easy position in the context of twentieth Century modernism. Growing interest in the work of female composers has also led to a rediscovery of J. Senfter in recent years. Her extensive work includes piano music, orchestral works and chamber music, including the Piece for flute, clarinet (in A), two bassoons and four horns, first performed in Karlsruhe in 1934.
SKU: SU.26200040
This piece was composed in dedication to the great African American female composer, Florence B. Price. It was my first residential performance pieces at the Vermont College of Fine Arts in 2019.Bass Clarinet, Trumpet & Piano Duration: 8’ Composed: 2020 Published by: Dr. André E. Godsey Sr.
SKU: HL.48025037
UPC: 196288020936.
Iris ter Schiphorst understands her piece as an homage to the writer Inge Muller (1925 - 1966), whose poems were included in this work, and as a 'scientific-artistic examination of the intellectual climate of her life', especially of the Nazi era as well as her reception in the 1960s by Hannah Arendt, among others. The idea of abandoning the Lied as a constitutive unity of text and music andworking with different text genres (including so-called folk songs) opened up the possibility for the composer to think theatricallyand to be able to create narrative, sometimes 'scenic' connections between the elements: Sometimes the music comments on the text, sometimes it contradicts or questions it, and vice versa. Most of the texts are spoken, singing is almost exclusively done on vocalises. The composition is explicitly written for a female solo singer, and the musicians accompanying her should ideally be male. 'The sung parts are designed like a commentary ... The performer/singer must be trained in theatrical bodywork and has to assimilate and embody the texts.'.
SKU: BA.BA07199-22
ISBN 9790006486076. 29 x 21.5 cm inches.
SKU: HL.50485422
SKU: SU.50007520
Duration: 10' Published by: Seesaw Music.
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.
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SKU: PR.11140180S
UPC: 680160601691. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.
O The Chimneys is a setting of five poems by Nelly Sachs, the great German-Jewish 1966 Nobel Prize co-winner in literature, whose writing concerned itself almost entirely with the subject of the holocaust. Composed in 1969, the work was my own personal way of saying, through my own art, do not forget. Shockingly, these words have as much relevance today as they did when the work was written. Today we find ourselves having to say do not forget, do not distort, do not deny it ever happened. I selected the five poems from Sachs' O The Chimneys collection, retaining its grimly evocative title even though I did not include the actual poem by that name. In scoring the work for female voice, flute, clarinet/bass clarinet, cello, piano and percussion, I aimed to give myself the broadest possible palette of instrumental colors while using the smallest number of participants. Yet as I was planning the final moments of my cycle, I felt that instrumental sound alone would not suffice to express the horror. An electronic tape segment was added to the work's final climax. The first two poems (A Dead Child Speaks and Already Embraced by the Arm of Heavenly Solace), both depicting the tearing of a child away from his mother, are treated essentially as one unit, with the first acting as an introduction to the second. These two, and the cycle's apocalyptic fifth poem (Hell is Naked from Glowing Enigmas II), act as the two weighty pillar points, so to speak, surrounding the more introspective two middle poems (Fleeing and Someone Comes). To maximize dramatic differentiation within the constraints of a relentlessly tragic subject matter, I used range as a means to delineate contrast, by dividing the sounds available to me into low and dark (mvt. III) vs. high and, at times, eerily bright (mvt. IV) colors. Thus the two middle poems are intended to balance the frenzied madness of which the work's outer parts are made. The work received its first performance in New York at the Metropolitan Museum of Art's Grace Rainey Auditorium on January 19, 1970. --Shulamit Ran.
SKU: PR.111401800
UPC: 680160618132. 8.5 x 11 inches. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.
SKU: HL.14007924
ISBN 9788759889893. Danish.
Cyprianus for 3 female Voices, 2 Clarinets and 2 Percussion was composed by Bent Sorensen in 1982. Texts from old Danish conjurations.
SKU: LP.765762173903
UPC: 765762173903.
Catch a glimpse of the face of God through this beautiful and appealing new work by the songwriting team of Phil Mehrens and Dave Clark. Mary's words will resonate with mothers everywhere as she contemplates the hands that measured the heavens in the tiny bundle of promise I'm holding tonight. This delicate gift for SATB with female solo is wrapped in Cliff Duren's luscious orchestration and is sure to become a perennial favorite of both choir and congregation. Instrumentation: Flute Oboe Horn Trumpet 1 Trumpet 2 & 3 Trombone 1 & 2 Trombone 3/Tuba Percussion Rhythm Violin Viola Cello/Bassoon String Bass Substitute Instruments: Keyboard String Reduction; Soprano Sax (Sub. for Oboe); Alto Sax (Sub. for Horn); Tenor Sax (Sub. for Trombone 1 & 2); Bari. Sax (Sub. for Trombone 3/Tuba); Clarinet (Sub. for Viola); Bass Clarinet (Sub. for Cello/Bassoon).
SKU: GI.G-006478
UPC: 641151064789. Scripture: Psalm 116.
This beautiful setting of the psalm for Holy Thursday is enhanced by the addition of optional violin, flute, and clarinet. Keyboard and guitar round out the accompaniment as female and male cantors intone the refrain. Orin has structured the verses with an interplay between the cantors, while the SAB choir offers gentle vocal support on neutral syllables. The overall sound is lush and mesmerizing.
SKU: HL.49045135
ISBN 9790001202121. 8.25x11.75x0.374 inches. French.
Thierry Pecou lasst die untergegangenen Kulturen der Maya und Azteken in einer symphonisch-vokalen Musiksprache wieder auferstehen. Der geschmeidige Jaguar reprasentierte in den vorkolumbianischen Welten nicht nur die Macht des Konigs, er symbolisierte auch den nachtlichen Lauf der Sonne durch die todgeweihte Unterwelt.3 (3. auch Picc.) * 3 (3. auch Engl. Hr.) * 3 (3. auch Bassklar.) * 3 (3. auch Kfg.) - 4 * 3 (3. auch Piccolotrp. in B) * 3 * 1 - P. S. (I: Crot. * Beck. [crash] * hg. chin. Beck. * Tamt. * Bong. * Tomt. * gr. Tr. * chin. Bl. * Holzbl. * Cencerros; II: Crot. * Plattengl. * hg. Beck. * chin. Beck. * Gongs * thai. Gong * Tamt. * Tamt. [gross] * Bong. * Cong. * Tumba * gr. Tr. * Metal Chimes * Teponatzli [hoch]; III: P. * Crot. * geschlagene Beck. * chin. Beck. * gr. Nietenbeck. * thai. Gong * Tamt. * 2 Rahmentr. * gr. Tr. * Teponatzli [mittel]) (3 Spieler) - Str. (16 * 14 * 10 * 8 * 6).
SKU: LP.765762182103
UPC: 765762182103.
Don't miss this simple haunting melody and lyrics from contemporary hymn-writer Allie LaPointe beautifully supported by Russell Mauldin's superb light-handed orchestration. Arranged for female solo and mostly unison choir with a touch of very accessible vocal harmonies When Amidst the Storm I'm Shaken is destined to become a favorite of choirs and congregations alike. Perfectly lovely.
SKU: SS.50028650
Text: Kafka's The Trial & Diaries, Balzac, and Chinese poet Wen I-to.
A multi-lingual work.
SKU: HL.49030968
ISBN 9790001040389. German.
SKU: HL.49030966
ISBN 9790001040365. German.
SKU: SU.50028650
Female & Male Narrators, Tenor & Bass Soloists, Women's Chorus, Flute, Clarinet, Violin, Viola, Cello, Contrabass, Digital Sounds Duration: 20' Based on Kafka's The Trial, with added texts from Kafka's Diaries, Balzac, and Chinese poet Wen I-to; a multi-lingual work Composed: 1972 Published by: Seesaw Music.
SKU: HL.49030967
ISBN 9790001040372. German.
