SKU: HL.50600899

ISBN 9790080149478. 10.25x14.25x0.337 inches. Laszlo Tihanyi.

The work was commissioned by the Budapest Strings and received its first performance on March 21, 2015, where it was conducted by the composer. It is not an orchestral piece per se, but a chamber work for an ensemble of 15 string soloists in which players divide into groups of five and sound at structurally important moments. It also features various high-pitched, tinkling percussion instruments, including: bells, wind chimes and crotales. This lends a special tinge to the night music character of the piece implied by the line from William Blake chosen as the title. The percussion play a far more essential role than one might imagine based off of the relatively few notes that they play. Their soundings both advance and impede the musical processes taking place in the strings so much so that in some places the string sound appears to be accompanying the tinkling sounds. Due to all these factors, Tihanyi's night becomes mysterious and even frightening, but never gloomy. (Janos Malina).

SKU: CY.CC2921

Exegesis is an unaccompanied solo for Bass Trombone written by American composer and Bass Trombonist Philip Brink in 1973. The work of about 4 minutes in length is appropriate for very advanced performers and requires the use of multi-phonics and other technical challenges.
Below is a brief instruction to the performer from the composer.
The rhythmic notation of Exegesis is fairly free; sections in traditional notation should approximate those rhythmic patterns, while arbitrarily long notes, rests or patterns should be as long as possible. The score hints at but does not make explicit any particular dramatic action or effect, which it is left to the performer to create or not. Most of the instructions are on the score and fairly easy to follow. The Beams that crescendo and diminuendo relate to acceleration or deceleration as indicated. There are odd little notes, like secretive in the first line - in these instances do whatever comes to mind as giving an impression of secrecy - change in volume, tone, or whatever - even a hand gesture!
The composer gives detailed instructions in the score for the listener and the performer, helping with the interpretation and appreciation of this work.

SKU: BR.PB-5557

ISBN 9790004213674. 10 x 12.5 inches.

The two-movement, incompletely transmitted Horn Concerto in D major K. 412 was long considered as Mozarts first horn concerto; it is, however, his last, and was written between March and December 1791. Mozart undertook revisions in the autograph which contains the most important orchestral parts next to the entire solo horn part in order to adjust the work to the modest technical abilities of the planned soloist Joseph Leutgeb. Mozart revised and completed the first movement, eliminated lower notes in the solo part, rewrote difficult passages and expanded orchestral interludes to give Leutgeb additional breath rests. Mozart also made similar simplifications in the second movement as well, but his early death prevented the completion of the work.Robert D. Levin reconstructed both versions of the concerto on the basis of the autograph. Next to the version revised by Mozart (post correcturam), he now presents the original version (ante correcturam) for the first time in a musical text revised and supplemented according to rigorous philological criteria.