SKU: PR.44641241L

SKU: HL.14032192

ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).

Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.

SKU: BT.MUSM570366712

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.

SKU: AP.48096S

ISBN 9781470656683. UPC: 038081550961. English.

The mystical atmosphere of Greece's coastal caves, which shine with dazzling iridescent blue light through crystal-clear waters, is the inspiration of this rich, cinematic selection. Students will be challenged to maintain a balanced, warm tone throughout, with a slow tempo and increased part independence. But they'll adore the flowing, interlocking streams of dreamlike melody in all the parts and an ominous sense of tension and release that builds to a rewarding conclusion. An optional harp part is included. The Blue Caves of Zakynthos, by Doug Spata, is a great way for advanced orchestras to work on higher-level musicianship skills, and it will be a stunning showpiece in any concert program. (4:50).

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.