SKU: HL.50600472

8.25x12.0x0.076 inches.

In the field of New Music, Sofia Gubaidulina's “De profundis” has already achieved the status of a classic. It is not only an attainment of the New Music that instruments are capable of approaching the human voice in their sound, or that they can imitate areas of expression found in language and linguistic articulation. But the avant-garde has surely expanded the spectrum to a considerable extent. The piece for solo bayan is an impressive example of this. The listener witnesses a slow and inexorable intensification from the “rattling” of the lowest accordion register up to the pure, tender tones of the highest register. It is “anascent from the lowest to the highest, from the breath and soul to the world's soul or wisdom”, as Gubaidulina's friend and colleague Viktor Suslin once expressed it. With the means of sound, Gubaidulina transfers a symbol of life onto the music: breathing. Breathing distinguishes the living from the dead. What other instrument, other than the winds, perhaps, could better lendexpression to this characteristic than the accordion? In contrast to the wind instruments, however, the accordion is not an instrument into which the player breathes and creates breathing sounds - instead, the instrument itself assumes this function. It breathes through the pulling apart and pressing together of the bellows. As the basis of her composition, Gubaidulina chose the lines of the Psalm 130 “From the depths, o Lord, I call to you” for the characterisation of her interlaced message. Shadowy chorale melodies are occasionally heard, but the fundamental idea of ascent remains decisive. Sharp insertions and expressive gestures, intrusive glissandi and nervous vibrati repeatedly disturb the direction of movement. And then we hear consciously the integrated breathing of the instrument - breathing slightly, hardly audible, opposing the powerful chord blocks. The musicologist Valentina Cholopova once said of this: “All these sounds confront solemn chords richly ornamented with figurations, but there is also a long, monodic melody running through the entire symbolic path of the work - from the depths all the way up to the brilliant heights.” The work is dedicated to Friedrich Lips!

SKU: PR.114418590

ISBN 9781491111499. UPC: 680160642670. 9x12 inches.

Written originally for solo violin (114-41410), Chen Yi's memorial to a favorite teacher captures the depths of loss, the power of Memory. The piece was adapted for solo flute (114-41787) by Mary Holzhausen, and is now arranged for solo cello by the composer.______________________________________Text from the scanned back cover:MEMORY for solo CelloChen Yi has created a solo cello version of this plaintive memorial work, originally for solo violin – the instrument in which composer Chen Yi was trained as a performer. The composer provides this program note: “Dear Professor Lin: I wish you could hear the tune in Memory, which sounds like my painful cry out of your name in our Cantonese dialect. I expressed my deep sorrow in the music, to remember your fatherly mentorship. Your meaningful smile will always be with usencouragingly.”.

SKU: HL.1283364

UPC: 196288166641.

Dedication for chamber orchestra by William Bolcom was written in 2021-2022, especially for the ROCO Chamber Orchestra. The commission was the result of a meeting between Alecia Lawyer and the composer at a Great American Songbook concert, hosted by Arthurand Shelley Gottschalk. Dedication is a concise but dramatic work. Its threepart is determined by tempo and motif. The work begins with Intro: Moderato. After a very soft ostinato sounds from the depths of the orchestra, two melodies emerge: the first in the Piccolo and Eb Clarinet, the second in the English Horn and Bassoon. They are complemented by strings in close harmony and lyrical muted brass. This is followed by Feroce! which engages the tutti ensemble in a cascade of brilliant fortissimo block harmonies. The next section, Allegro molto, is characterized by agile, virtuosic passage work and brash chords. Tempo I returns with familiar motifs wrapped in six sharps. Marked espressivo e cantabile, tutti strings provide an incandescent conclusion. Then soft string glissandi allow the music to fade back from wherever it came. Dedication is orchestrated by his former student Edmund Cionek.

SKU: CA.965900

ISBN 9790007165901. Text language: Latin.

Mezzalira places his worked entirely in the tradition of Catholic church music: Gregorian elements are associated likewise with Palestrina's counterpoint and Bruckner's sonorous expansin. Thoroughly in the tradition of the motet, the Memorare is structured in four sections, each in accordance with their respective texts. This large structured composition begins in C minor from the depths of the men's voices, building to a song of lamentation which increases to an harmonically enriched E flat major passage on the words virgo maria. In the second section, harmonically in A flat major, Mezzalira places the upper and lower voices in a double choir opposed to each other in block-like manner in order to develop resonating cantilenas in the third part, which is in F major. After a very simple, tender four-part setting of a hymn the composition ends with an Amen with large modally enriched chords in D major.

SKU: BR.EB-8511

Breitkopf Urtext on the basis of the Reger Complete Edition ed. by Hans Klotz, critically examined by Martin Weyer with an introduction by Hans Haselbock

ISBN 9790004178041. 9 x 12 inches.

A key work in Reger's organ production from the time of its first publication in 1902 up to today, the famous F-minor Passacaglia from Op. 63 has cast its spell on generations of organ lovers. The dark bass strides quietly through the depths, persistently and secretly like time itself; a ghostly breath murmurs about the heights and rustles through light leaves; and from within emerges a voice which rises and falls in a seemingly aimless manner, and which speaks more than it sings... (Gustav-Robert Tornow on the 8th variation of the Passacaglia in his 1907 introduction to the work).

SKU: FG.706334-24-0

ISBN 979-0-706334-24-0.

The name of the work refers to the hours of night when impulses buried deep in the sunconscious are released from the labyrinth of the mind. The subject ties in with Harri Vuori's composition - althoug abstactly - in that both the light, mobile motifs and the slower, lyrical passages are gradually forced to give way to a repetitive texture rising from the depths. It builds up to a mighty climax that makes heavy demands on both the technique and the physical resources of the performers. Duration ca 10 minutes.