SKU: HL.4003291

UPC: 884088864194. 9x12 inches.

The term “labyrinth” refers to an intricate and confusing maze of pathways. In similar fashion, William Himes' somewhat devious, yet delightful musical representation takes the listener (and performer) on a journey of increasing complexity and musical twists and turns before ultimately revealing the familiar path leading to the exit. Composed using a single tempo, Labyrinth offers a unique and effective setting for band. Duration: 3:20.

SKU: HL.278658

ISBN 9788759840849. 10.5x14.5x0.445 inches.

Prelude-Labyrinth-Exit by Anders Brodsgaard for Cello solo (1994-2002). Prelude was commissioned by Louise Lerche-Lerchenborg for Lerchenborg Musikdage 1994. Labyrinth-Exit was commissioned by Det Unge Tonekunstnerselskab in 2002. Score revised in 2018.

SKU: HL.49017441

9.0x12.0x0.376 inches.

This composition evolved from an improvisation played by Petr Eben himself on numerous concert tours across Europe. Now the printed version long awaited by many organists has been published. The fourteen pieces are based on themes taken from the book by the same name by the humanist philosopher, educational theorist and theologist Johann Amos Comenius (1592-1670). Eben writes about the piece: 'The pilgrim who wanders through the labyrinth of the world finds nothing here to delight him and turns his heart towards God. What touches me most about Comenius' view is his tireless striving to make the world a better place. The whole atmosphere of the text is not that of an idyllic stroll through the world, but of a satirical, bizarre and sometimes even apocalyptic vision.'.

SKU: FH.FLR00

ISBN 978-1-55440-288-5.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

SKU: HL.14018480

ISBN 9788759863121. Danish.

Two Act Opera. Text: Bent Norgaard.

SKU: PE.EP72822

ISBN 9790577011769. 232 x 303mm inches. English.

I have only visited Damascus once, twenty years ago, on the way to Palmyra.  I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist.  Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.

In Palmyra, I was met with extraordinary kindness everywhere.  On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.

Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed.  When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.

I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine.  I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation.  In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry.  It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.

In setting these words, I have not attempted to imitate Syrian music.  However, there is what might be called a linguistic accommodation in my choice of scale, or mode.  Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation.  This eight-note mode is similar to scales found in Syrian music.  I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words.  In this work, its Arabic aspect is more prominent. - Jonathan Dove