SKU: HL.133362
ISBN 9788364823091. UPC: 884088981969. 7.0x9.5x2.003 inches.
This multi-award-winning treatise constitutes the sum of Mieczyslaw Tomaszewski's knowledge and reflections on Chopin-related themes. Thanks to successive translations, it has also won over readers outside Poland and become fundamental reading for all admirers of the brilliant composer. Features hundreds of quotations from Chopin's works.
SKU: ST.CN26P
ISBN 9790220225390.
Richard Bullen's 'dark lullaby' The Oxen was commissioned by Choir & Organ magazine for the choir of St Paul's Cathedral, and it was featured in the September 2016 issue as part of the New Music series showcasing choral works by young composers. Although lilting rhythms evoke a mood of naivety and innocence, of children gathered in hushed excitement around the fireside on Christmas Eve as pictured in the first verse of Hardy's well-known poem, there is also an edge to the music that reflects its nostalgic, even bitter content. First published in The Times on 24 December 1915, this seasonal lyric can also be read as a lament for loss of innocence and of the simple urge to faith. We might also find in its reflection on the distance between the ideals of civilisation and its reality, a tragic separation that continues to this day. Part of the subtle resonance of the poem is its conversational manner. Each voice should therefore be phrased flexibly and feelingly in its contribution to the discourse, while the tempi should be judiciously chosen to enhance this overall effect according to the prevailing acoustic.
SKU: ST.B959
ISBN 9780852499597.
Newcomers to Marjorie Dobson's work, no less than admirers of the first collection of her writings, Multi-coloured Maze, will recognise in the contents of its successor, Unravelling the Mysteries, an authentic creative voice crafting words, rhymes and rhythms into the expression of a lived faith. As Janet Wootton notes in her preface to this second anthology, Marjorie has 'a knack of rooting the mysteries of faith in the down-to-earth realities of life, and stating them in language that is at the same time poetic and completely accessible'. This versatile, contemporary idiom lies at the core of forty new hymns, offered with a selection of musical settings both original and familiar that will uplift the heart in voice and verse. In addition, there is a wealth of poems, prayers and dramatic pieces to inspire and console, whether in situations of praise or reflection, trial or thanksgiving. The focus overall is on the enigmas of creation, of belief, grace, choice, sorrow and resurrection - nothing less than the all-embracing questions that determine the route and destination of life's journeys. Marjorie approaches these mysteries in her own inimitable way, unravelling the tangled threads for herself and for others in the context of the ambiguities and complexities of the modern world. From the resonance of these texts, worshippers, those in fellowship or discussion groups, and enquiring individuals will be empowered to explore questions of faith, or doubt, in their own lives, with insights to take them on the next step of the road.
SKU: AP.51021S
ISBN 9781470667979. UPC: 038081586854. English.
Journey through ethereal realms with Skyward Spirits, a symphonic masterpiece by JaRod Hall, who weaves tales of flight and fervor in this dynamic yet short micro-symphony. Begin with Takeoff as the brass fanfares and woodwind flourishes ignite the sky with anticipation. Drift into the embrace of Under the Wing, a soulful reflection adorned with expansive melodies. Feel the tempestuous thrill of Cloudburst, a scherzo of storm and spirit, only to be whisked into the jubilant dance of Blue Skies, a finale that revisits cherished motifs and culminates in triumphant resonance. Let this masterpiece take your spirit flight! (6:00).
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: CF.WF232
ISBN 9781491153772. UPC: 680160911271.
Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new†works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new†works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World†—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.PrefaceConceived originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New Worldâ€, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new†works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.
SKU: DY.DO-1551
ISBN 9782897963316.
PULSO DE LA VIDA was composed as part of my dear friend Kostas Tosidis' doctoral thesis with the title Bowing technique on the guitar.The character of the piece changes from simple and meditative to rhythmic and tension-filled, reflecting different stages of our lives.Using a C, G, D tuning for the bass strings, the guitar utilizes resonance to create sustained, cello-sounding melodies on the fourth string, complemented by harmonies on the fifth and sixth strings.The bowing technique is introduced with a continuous tremolo accompanied by an extended form of the first theme. The more dancelike and rhythmical part of the piece uses a 19/16 measure that allows us to experience a sense of disparity. Finally, the simplicity combined with a sense of completeness, but also of abandonment of the beautiful gift of life, leaves us in a state of stillness for any kind of introspection.PULSO DE LA VIDA a été composé dans le cadre de la recherche doctorale de mon cher ami Kostas Tosidis, sous le titre Bowing technique on the guitar (technique d'archet àla guitare).Le caractère de la pièce passe de simple et méditatif àrythmique et plein de tension, reflétant les différentes étapes de notre vie.La guitare, dont les cordes basses sont accordées en do, sol et ré, utilise la résonance pour créer des mélodies soutenues au son du violoncelle sur la quatrième corde, complétées par des harmonies sur les cinquième et sixième cordes.La technique d'archet est introduite par un trémolo continu accompagné d'une forme étendue du premier thème. La partie plus dansante et rythmique de la pièce utilise une mesure 19/16 qui nous permet d'éprouver un sentiment de disparité. Enfin, la simplicité combinée àun sentiment de plénitude, mais aussi d'abandon du magnifique cadeau qu'est la vie, nous laisse dans un état de tranquillité propice àtoute forme d'introspection.
SKU: HP.8632
UPC: 763628186326. Tom S. Long.
Musical for Young voices This new children's musical includes three Bible stories: Noah and the Great Flood, Jonah and the Great Fish, and Paul's Shipwreck. Each story features the ocean as a symbol for the chaos of life and shows how only the power of God is greater than the natural forces of wind and wave. Done in its entirety, the three stories flow into and reflect upon one another in an entertaining 45-min. program. As an option, each story can be performed separately as a 15-minute mini-musical. It's all done with a childlike playfulness full of humor and songs rich with catchy melodies. Done all at once or in parts, the theme that only God can bring peace to the hurricanes of life shines through with charm and resonance. The DVD includes just instruction for the choreography. .
SKU: HL.4008967
UPC: 196288282167.
“Rising into a New Era” was commissioned by the city of Landeck in 2023 to commemorate its 100th anniversary since being declared a city. The composition serves as the introductory part of a trilogy, encapsulating the years from 1923 to 1956, depicting Landeck's transformation from a market town to a city. The outset of the piece is characterized by a reserved and hushed atmosphere, reflecting the initial uncertainty during a period of economic challenges. The optimistic anticipation of a new beginning is only echoed by the sound of the city's new bells. The central motif, threading throughout the entire composition, is derived from the name of the city: LAnDECk (A-D-E-C). This motif unfolds at the onset within the resonance of the city's bells, gradually evolving into the main theme through the gentle tones of the clarinets. Following the initial years of the burgeoning city, where a positive societal shift and newfound security are symbolized by a second musical theme, the sudden eruption of the Second World War disrupts this progress. A mournful melody, borrowed from the cheerful second theme of the piece, speaks of sorrow, nostalgia, yet also solace and hope for peace and freedom. A “Vivace furioso” captures the uncertainties and intense turbulence of the war. These tumultuous emotions gradually settle, culminating after a delicate oboe and saxophone solo into the now powerful main theme presented in the form of a majestic chorale. A “Vivace con bravura” brings the composition to a radiant conclusion, signifying a strengthened future for the city of Landeck.
SKU: HL.4008968
UPC: 196288282174.
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: BR.EB-9271
ISBN 9790004185711. 0 x 0 inches.
I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony, which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time, I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.Christian Mason, 2018 The four movements may be played separately or as a collection. If played together the following order should be observed (see table of contents).World premiere: Sheffield/UK, Firth Hall, April 14, 2018, Commissioned by Ligeti Quartet.
SKU: BR.EB-9270
ISBN 9790004185704. 9 x 12 inches.
SKU: PR.144402180
UPC: 680160027156. 9.5 x 13 inches.
The concerts and exhibits of the Cleveland Museum of Art were an important formative influence for me during my student days. So when the invitation came to create a new work celebrating this institution on its seventy-fifth anniversary, I was not only happy to accept, but knew immediately that I wanted to write a piece that would somehow relate specifically to the museum. I decided to make the work a reflection on a painting in the museum's collection: Zurbaran's The Holy House of Nazareth. My quartet is not program music in a narrative sense, but rather a kind of meditation that takes its tone from this painting's remarkable integration of intense affect, mysterious repose and secret geometry. Besides Zurbaran's painting, the piece is occupied with a purely musical object of contemplation: the hymn tune Picardy, best known with the text Let All Mortal Flesh Keep Silence. This tune permeates the harmonic and melodic life of the quartet, sometimes appearing in a very simple, straightforward fashion, but often hidden amidst more complex structures. I was attracted to the melody for its musical qualities, but later realized that the hymn's text also resonates with the mood of the painting; the words speak of a reverent awe, of cherubim with sleepless eye, and of the mystery of the Incarnate Word who must suffer: King of kings, yet born of Mary...
SKU: PR.14440218S
UPC: 680160027170. 9.5 x 13 inches.
SKU: LO.9780787765354
ISBN 9780787765354.
Marty Parks turned to hymns and gospel songs that have withstood the tests of time for this collection of accessible arrangements. Chosen for their musical merit, lyrical depth, and meaning, these “treasures†encompass a wide range of emotions, from joyous celebration to quiet reflection. Their messages of hope, promise, and assurance are sure to resonate with listeners.
SKU: MN.56-0119
UPC: 688670221477. English.
Unconditional Love is Howard Goodall’s heartfelt cantata of gratitude and remembrance, a poignant reflection upon the COVID-19 crisis. It seeks both to give thanks to those who sacrificed their lives in the aid of others and to offer solace to the grieving. Yet unifying each of its seven movements is a call to hope and to moving forward in a world rebuilt. The cantata commemorates the selflessness and togetherness felt by communities across the world during the pandemic, communities that offer their thanksgiving in many different ways. It is hoped that Unconditional Love’s universal messages will resonate with choirs of all kinds and in all places, for many years to come.
SKU: CF.CM9549
ISBN 9781491150818. UPC: 680160908318. 6.875 x 10.5 inches.
Make Space for Life to Live by Michael John Trotta offers captivating, expansive melodies interwoven with a piano accompaniment that makes subtle allusions to the main theme. Its mesmerizing text resonates with the singer and the audience. Appropriate for concert or festival use throughout the year, this piece is also available for SA voices (CM9274), TB Voices (CM9283) and SAB voices (CM9289).Editor's NoteAbout the WorkMake Space for Life to Live features expansive, yet accessible vocal lines perfect for choirs of all abilities and sizes. It offers compelling melodies and singable vocal lines interwoven with a piano accompaniment that makes subtle allusions to the main theme.About the TextThe text for this work was written while on an extended seashore retreat several years ago. It was the product of many long walks looking out into the vastness of the sea. It was a time in my life that was immediately preceded by great personal loss and turmoil. It was in that silence and space I was able to reconnect to that still, small voice within that reminded me that I was merely a part of something much bigger than myself. The text that was hewn from that experience is a reflection on the importance of allowing space in my daily life to experience the simple joys that every moment has to offer.Optional NarrationRegardless of race or creed the abundance that is found in the reality of the present moment is augmented by regular exposure to the arts. The capricious nature of time in the age of immediacy is that it is entirely flexible. Experience suggests that exposure to natural beauty, such as watching a sunrise unravel over the sea or a cloud formation sweep through a mountain range, allows an individual to feel part of something greater than themselves. Music has the ability to take time and slow it down, revealing to the participant their part in the whole. Taking part in choral music, whether as an audience member, singer, conductor or composer is an opportunity to slow down time long enough to allow the beauty of life to catch up with you.
SKU: ST.B954
ISBN 9780852499542.
The outcome of a fruitful collaboration of theologians, writers and musicians working at the retreat and therapeutic centre of Holy Rood House in Yorkshire, this new collection articulates the needs of a contemporary ministry of healing through the agency of hymns, the church's most resonant and expressive form of worship. Acknowledging the impact of medical science in vastly expanding the range of the possible in every aspect of our living and dying, eighty-three texts tackle a rich diversity of themes: infant death, illness and suffering, ageing and dementia, the genome, mortality and bereavement, grief and lament, pain and despair - including pain and despair from the failure of healing - but also wisdom and resilience, healing as part of a spiritual holism of mind and body, and as a metaphor for social and political justice and care for the environment. The wealth of music includes new tunes and familiar ones, and the anthology concludes with a section of twelve short or repetitive texts to be used in conjunction with prayer. Hymns of Hope and Healing is the product of many voices, from those of widely experienced authors to others taking their promising early steps in the form. It will provide a vehicle for worship and reflection for those involved in chaplaincy, in therapies and counselling, and all in the wider church with an interest in this ancient ministry. Witnessed through the life, death and resurrection of Christ, it is refreshed and re-imagined here for a time both of breathtaking scientific advance, and of an urgent need to affirm our wholeness and faith while embracing the momentous challenges to our traditional understanding of health and healing.
