SKU: AY.G3214PM
ISBN 9790543573086.
When I wrote Romanza del Desierto I had been living in Arizona and I would frequently camp in the desert with friends. The setting sun behind the mountains and the beautiful light it created was my inspiration. It made all the saguaro, palo verde trees and cholla cactus take on a whole new look. At the same time I was trying to create an alternative to the famous and anonymous Romanza. Several times when playing it I have seen women shed a tear.
SKU: M7.DUX-637
ISBN 9783868492828.
30 'Klassiker', arrangiert für Piano.
SKU: CN.R10274
Hop on the plane, it's time to fly! This short suite of descriptive pieces takes the ensemble on a brief ride through the sky. Hear the sounds of the engine starting, the take off, the beauty and solace of the clouds from above, the nervousness of the descent, and the excitement and joy of arriving at our destination.Lift Off! is a short suite of descriptive pieces, all inspired by a short flight from Manchester, England to Brussels. In the first movement we hear the engine start, and after the plane has moved into position, it takes off. The second movement depicts the beautiful view of the clouds from above. It all seems timeless and you don't even feel as if you are moving. The last movement starts nervously (I'm not a great flier!), as the plane begins its descent from the sky. However, as we land safely back on earth, the piece ends in a flurry of excitement and triumph, returning to a theme heard in the first movement.
SKU: GI.G-3966G
Text by Various.
CONTENTS: I AM FOR YOU (G-3967) • ONE IS (G-3968) • PSALM 1:ROOTS IN THE EARTH (G-3969) • IF/SI (G-3970) • PSALM 85:YOUR MERCY LIKE RAIN (G-3971) • BE THOU MY VISION (G-3973) • NOW (G-3974) • PSALM 51:CREATE ME AGAIN (G-3975) • ALL THINGS NEW (G-3976) • COVENANT HYMN (WHEREVER YOU GO) (G-3977) • MISSION SONG (G-3978) • SPIRITS SEEKING LIGHT AND BEAUTY (G-3979) .
SKU: BR.EB-9233
World premiere: Witten, April 25, 2015
ISBN 9790004185155. 0 x 0 inches.
The piece is about observing the most diverse anxiety states in extreme degrees of emotional intensity, from slight distress up to acute panic attacks. What interests me here is not merely the musical realization of these phenomena, but grasping the energetic nature of those psycho-physical processes, emotions, reflexes, and proceedings. To this end, I'm seeking, at the clarinet myself, for an intimate sound world where expanded styles of playing in a flexible and permanently moving context appear. A very intensive music of the nerves, with a broad palette of psycho-physical emotions that, found in myself and my surroundings, are made audible. The title Psychogramm II has (as always) a subtitle: rettegos (fearful). In the order of increasingly emotional anxiety words, this stands for the highest level and means very great, profound anxiety, though in a grammatical form not in fact devitalizing the serious idea, but mitigating it a bit, not entirely without humor and somewhat childishly. (Marton Illes, 2015)World premiere: Witten, April 25, 2015.
SKU: CF.FAS30
ISBN 9780825858109. UPC: 798408058104. 8.5 X 11 inches. Key: D major.
A solid piece in a processional style by noted composer Joseph Compello, Horizons is both melodic and engaging. The work has a strong lyrical line that is beautifully blended with an enchanting pizzicato section. This helps to augment the driving pulse th.The processional style of Horizons will be ideal for young string ensembles which are seeking a more serious style of music but which are not yet capable of performing at a brisk tempo. Older groups, however, should not perform this piece at a fast pace, otherwise the processional feel will be lost.The articulation throughout should be marcato except where otherwise marked. A light staccato touch is required in the accompaniment beginning at bar 11. Very young ensembles always need guidance in performing accents and loud dynamics tastefully.At m. 20, the cellos have a countermelody which is separate from the bass part. If the ensemble does not have basses, the part may be covered on the piano. At m. 45, the cellos have optional notes to allow extra time to prepare for pizzicato. Likewise at m. 53, cues are included for violin 2, viola and cello to allow time to prepare for arco.The effectiveness of the final section beginning at m. 71 should be played as broadly as possible. The 100 tempo is a suggestion.Performance time with the repeat is just under three minutes.Thank you for choosing this composition. I hope you and your students enjoy performing it.- Joseph CompelloGlen Arm, Maryland, 2005.
SKU: P2.10022
The third part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The trio is divided into three sections: The Way We Descend--Reflection of Narcissus--Below Nature. Taking a break from Greek myth-nerd terms, this movement introduces chthonic-flavored phrases that elaborate on our descent into the underworld, specifically through dreams. The realm of the underworld can be such a shock to our dayworld, limited, egoic consciousness that it can seem like a violation as Hillman points out, referencing the Greeks: This style of the underworld experience is overwhelming, it comes as violation, dragging one out of life and into the Kingdom that the Orphic Hymn to Pluto describes as 'void of day.' So it often says on Greek epitaphs that entering Hades is 'leaving the sweet sunlight.' (p.49) He elaborates on the differences between dayworld and underworld perspectives: The dream is not compensation but initiation. It does not complete ego-consciousness, but voids it. So it matters very much the way we descend. (p.112) He goes on to describe the various modes in which mythical figures have descended: Ulysses and Aenas to learn; Hercules to take and to test, for example. To act like Hercules, like the hero, in the underworld is to miss the point and cause more problems, the villain in the underworld is the heroic ego, not Hades. (p.113).
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
