SKU: BT.GOB-000963-140
This composition was based on the world-famous novel by the French author Jules Verne. This novel describes the attempt to reach the centre of the earth. The descent of the crater of the volcano called Snaeffels, situated in Iceland, marks thebeginning of this voyage to the sublunary world. The German geologist, professor Lidenbrock, is accompanied on this trip by his nephew Axel and an Icelandic guide named Hans. The last mentioned will be helpful in many occasions. Dark colors & mist The composer tried in this single work to give a musical expression to various significant moments from this novel. In the introduction he sketches an image of the dismal ambience on the island by using dark colors. Risingfragments of mist reveal the flanks of the monumental mountain Scataris. The composer tries to catch this image in a majestic and broad chorale. Away from Iceland Subsequently the ostinato rhythmicity and virtuosity representthe hectic descent of the crater of the volcano. The party descends ever more and more and travels south, away from Iceland. On the way, they see all kinds of rock formations, fossils and minerals. At a depth of thirty hours walking distance, atabout 150 kilometers below the surface, they reach a sub terrestrial sea which is called the Lidenbrock sea. Genuine eruption of sounds Strange electric manifestations and unpredictable weather conditions accompany thissingular phenomenon. An orchestral tutti-episode expresses this impression musically. On a make-shift raft, the party continues its voyage, heading to the south coast of this huge sea. Once ashore, an enormous rock obstructs the passage. The blowingup of this obstacle unleashes a genuine eruption of sounds in the orchestration. Spat out by the volcano But the explosion has an unforeseen side effect. The sea - travelers and raft included - is sucked upwards into a dark hole.Again, our heroes are accompanied on their involuntary voyage, while left to fend for themselves, by an ever increasing ostinato rhythmicity. Before an irruption can destroy the raft, the threesome manages to escape and climb up through acave towards the daylight. They seem to be spat out by the Stromboli volcano on the island of Sicily, far from home. The composition ends with triumphant sounds that represent the scientific triumph of these adventurers.De compositie 'Voyage au centre de la terre ....' is gebaseerd op de wereldberoemde roman van de Franse schrijver Jules Verne. Het boek beschrijft de poging het middelpunt van de aarde te bereiken. Een afdaling van de op IJslandgesitueerde vulkaankrater 'de Sneffels', markeert het begin van deze reis in het ondermaanse. De Duitse geoloog professor Lidenbrock wordt hierbij vergezeld door zijn neefje Axel en een IJslandse gids genaamd Hans. Laatstgenoemdezal in menig netelige situatie nog van pas komen. De componist heeft getracht in dit eendelige werk een aantal significante momenten uit deze roman te verklanken. In de inleiding wordt door middel van donkere kleureneen beeld geschetst van de desolate sfeer op het eiland. Optrekkende flarden nevel onthullen de flanken van de monumentale berg 'de Scartaris'. De componist tracht dit beeld te vangen in een majestueus, breed opgezet koraal.Vervolgens staan ostinate ritmiek en virtuositeit voor de hectische afdaling in de vulkaankrater. De groep daalt dieper en dieper af, en reist daarbij zuidwaards, weg van IJsland. Onderweg komen ze allerlei rotsformaties,fossielen en mineralen tegen. Op een diepte van 'dertig uur gaans', op ca. 150 km. diepte, bereikt het gezelschap een onderaardse zee die 'de Lidenbrockzee' genoemd wordt. Vreemd aandoende electrische verschijnselen enonvoorspelbare weersomstandigheden vergezellen dit zonderlinge fenomeen. In een orkestrale tutti-episode wordt deze indruk verklankt. Op een provisorisch gebouwd vlot vervolgt het groepje hun reis, daarbij koersend naar dezuidkust van deze enorme zee. Eenmaal aan wal gekomen verspert een enorm rotsblok verdere doorgang. Het opblazen van dit obstakel ontketent een ware klankeruptie in het orkest. Echter, de ontploffing heeft een onvoorzien neveneffect.
SKU: BT.GOB-000963-010
SKU: HL.50602096
ISBN 9781540062307. UPC: 888680961305.
The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, I attempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.
SKU: CL.015-2949-01
Ed Huckeby's skills for composing exciting yet accessible music for very young bands are truly remarkable. Journey to Centaurus is a wonderful concert work with modest technical demands, but it's full of excitement and color.
SKU: FG.55011-324-4
ISBN 9790550113244.
Quadri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought. Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola. It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.
SKU: RM.BECA04945-CO
SKU: CL.016-0350-00
SKU: HL.50493080
SKU: BR.DV-32095
ISBN 9790200426403. 9 x 12 inches.
The guitar is of oriental orgin. lt had reached Spain by the 8th century, presumably via the Arabs, and from there, like the lute, it spread through the rest of Europe. Over the centuries the guitar was further developed into an instrument with four courses of strings - this is evident from early-16th-century tablature-books, the earliest known.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
