Format : Score and Parts
SKU: BT.PL1921
SKU: HL.49019416
ISBN 9790001191067. UPC: 884088925635. 9.25x12.0x0.325 inches.
Thierry Pecou's demanding Sextet for piano and wind quintet can be played by students and professional ensembles alike. The composer got his inspiration to write this piece from listening to a gamelan orchestra at the Expo 2010 in Shanghai. What mattered to Pecou in this composition, however, was not just imitating the music styles of Bali or Java. The Sextet rather gives a very personal answer to the intensive impression the exotic sounds had made on the composer. Smoothly flowing lines in the flute part emerge next to fine-tuned chord clusters, echoing the original sound spectrum of gamelan gongs.
SKU: CL.016-0124-00
SKU: CL.013-0469-00
SKU: PR.164002840
UPC: 680160610792. 9 x 12 inches.
September, 2012 saw the premiere of Welcher's new Museon Polemos at the University of Texas. For the occasion, the performing ensemble included two world-class string quartets, the Shanghai Quartet and the Miro Quartet. Labeled as a '25 minute ballet without dancers,' Museon Polemos pits the two string quartets against one another in an Apollonian/Dionysian contrast of music and mood with the Shanghai quartet as the thoughtful, cool former and the Miro quartet as the visceral, earthy latter. ...Welcher took inspiration primarily from Stravinsky's later ballets of the '30s and '40s when composing his work. (Andrew Sigler on New Music Box).
SKU: HL.14028557
ISBN 9788759854273. 9.5x14.25x0.187 inches. English.
Gates is the second section from the ballet MAA, scored for Chamber group, tape and live electronics. Written in 1991, commissioned by the Finnish National Opera, this work beautifully demonstrates the poeticism of Saariaho's music with a sensuous calm that permeates throughout. MAA translates from Finnish into world, earth or country. It is a complimentary title as the ballet does not have a plot as such, rather it is built around thematic archetypes such as doors, gates, stepping into new worlds, journeys and the crossing of waters. Gates can be played either as an acoustic or, often preferably, an amplified version. The acoustic version is suitable for small and resonant halls, or in a context of e.g. an early music program, in which case the piece can also be played on original instruments. This is the Full set of parts for one of Kaija Saariaho's most major works to date. Score is avilable: KP00326.
SKU: BT.DHP-1135255-010
9x12 inches. English-German-French-Dutch.
This piece was composed in 2009 for a commission by Shinjuku Bunka Center to commemorate its thirty years since its opening.It is an impressive work with a brilliant, bright fanfare, and the stately sound of the church organ reverberating through the concert hall. The first performance was given by Hiroko Takahashi, a house organist of the center, with Shinjuku City Wind Orchestra conducted by Shigeto Ishizu. Original works for church organ and wind orchestra are surprisingly scarce. This is a fresh opening piece, to be followed by an organ solo which might lead to a march.Dit werk is in 2009 gecomponeerd in opdracht van het Shinjuku Bunka Center, ter gelegenheid van het dertigjarig bestaan van dit concert- en cultuurgebouw. Het is een indrukwekkend stuk muziek met een schitterende, stralende fanfare, waarbij de orgelklanken door de concertzaal schallen. De première werd gespeeld door Hiroko Takahashi, huisorganist van het centrum, en het Shinjuku City Wind Orchestra onder leiding van Shigeto Ishizu. Verrassend genoeg zijn er niet veel oorspronkelijke composities voor orgel en blaasorkest geschreven. Gelukkig is dit een mooie aanvulling op het repertoire. Dit levendige openingswerk kan bijvoorbeeld heel goed worden gevolgd door een solowerkvoor orgel, waarna een mars op het programma zou kunnen staan. Dieses Stück wurde im Auftrag des Shinjuku Bunka Centers komponiert, zu Ehren des 30-jährigen Jubiläum der Eröffnung dieses Kultur- und Konzertzentrums in Tokio. Celebration Fanfare ist ein eindrucksvolles Werk mit einer brillanten, strahlenden Fanfare und einer Kirchenorgel, deren feierlicher Klang durch den Konzertsaal hallt. Bei der Uraufführung spielte Hiroko Takahashi, der Hausorganist des Zentrums, zusammen mit dem Shinjuku City Wind Orchestra unter der Leitung von Shigeto Ishizu. Originalwerke für Kirchenorgel und Blasorchester sind überraschenderweise sehr rar. Dieses Stück eignet sich perfekt als Eröffnungsstück, dem ein Orgelsolo und dann eventuell einMarsch folgen könnte. Cette pièce a été composée en 2009 la demande du Shinjuku Bunka Center, Tokyo, pour marquer le trentième anniversaire de son ouverture. C’est une œuvre impressionnante combinant une fanfare éclatante et le son majestueux de l’orgue résonnant travers la salle de concert. Elle a été créée par Hiroko Takahashi, l’organiste du Centre, et l’orchestre d’harmonie de Shinjuku City, sous le b ton de Shigeto Ishizu. Les œuvres écrites pour orgue et orchestre d’harmonie sont rares. Fraîche et originale, cette pièce d’ouverture sera suivie d’un solo d’orgue pouvant mener une marche.
SKU: PR.114410380
UPC: 680160015160. 9.5 x 13 inches.
My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement’s scherzo is an aggressively animated piece of musical machinery. The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.