SKU: FG.55011-885-0
Whizzing, growling and rattling – you can produce all kinds of sounds with the harp, not just the fairy-tale shimmer and glissandos that you first think of. Lotta Wennäkoski composed Sigla for harp and orchestra (2021-2022) in close collaboration with the harpist Sivan Magen, to whom the concerto is dedicated. The title of the concerto, Sigla, has different meanings in different languages. In Italian, it means a jingle; in Icelandic, it means sailing; and in Tagalog, spoken in the Philippines, it means vivaciousness or enthusiasm. Wennäkoski has not specifically referenced these in the movements of the concerto as such, but she does allow that the various meanings of the word may be identified with the music according to the listener’s perception.The recording of the work (Ondine ODE1420-2) was premiered with the Gramophone award as the the best release in the contemporary category in October 2023.This product is the solo part.The orchestral material is available for hire from the publisher.Duration: 19'Instrumentation:Harp solo – equipped with paint brush, tuning key and a plastic hair clip2 Flutes (2nd doubling piccolo)2 Oboes2 Clarinets in Bb2 Bassoons2 Horns in F2 Trumpets in C – trumpets and trombone doubling an egg slicerBass trombone attached to a piece of wood or a flat cardboard boxPercussion (2 players)Percussion I: crotales, vibraphone, 5 gongs (a#, bn, c’, e’, f’), bass drum, cymbal, guiro, bell tree, shell chimes, whip, lion’s roar and different beaters including a bow, superball stck and wire brushesPercussion II: tam-tam, cymbal, snare drum, 2 cowbells, 2 temple blocks (med/lg), triangle (small/med), vibraslap and different beaters including a bow, wire brushes and superball stickPiano – equipped with a plectrum, wire brushes and 2 soft percussion beatersStrings.
SKU: UT.MAG-293
ISBN 9790215328341. 9 x 12 inches.
John Stanleyâ??s 30 Voluntaries (translatable as preludes), published in three collections as opp. 5, 6 and 7, are among the best known organ works of the 18th century. These free-style compositions were received with great appreciation by his contemporaries; the first volume, published in 1748, immediately achieved canonical status and encouraged other composers to write similar collections. The pieces, of easy to medium difficulty, are for manuals (alternatively, they can also be played on the harpsichord) and comprise two movements, slow and fast, many of which are characterized by a certain rhythmic energy and richness of color, expressed through the use of solo registers such as cornet and trumpet, with multiple echo effects, here adapted and transformed into piano, forte, and playing near the sound board effect, limiting, or rather modifying, their results.
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