SKU: PR.77640001L
ISBN 9780687644179.
Renowned composer Andrew Fowler of South Carolina has composed a work celebrating the life and writings of Charles Wesley entitled Directions for Singing, the title taken from the series of seven instructions written by Charles Wesley and included in John Wesley's Select Hymns, 1761. The work is a 40 to 45 minute piece in seven movements with soloists and full orchestra. Directions for Singing is an accessible and fresh choral and orchestral work.
SKU: HL.14043277
ISBN 9788759830987. International (more than one language).
Niels Rosing-Schow 's 2014 piece Views From A High Place for solo Cello. Version B. The work 'Views from a High Place' is a rhapsodic piece revisiting characteristic solo passages from both of my Cello concertos. The different musical 'views' share the instrument's high register as the point from which there is a view. Version B was written for the Danish String Players Contest 2014. - Niels Rosing-Schow.
SKU: HL.14043276
ISBN 9788759830970. International (more than one language).
Niels Rosing-Schow 's 2014 piece Views From A High Place for solo Cello. The work 'Views from a High Place' is a rhapsodic piece revisiting characteristic solo passages from both of my Cello concertos. The different musical 'views' share the instrument's high register as the point from which there is a view. - Niels Rosing-Schow .
SKU: BT.MUSM570366453
English.
'Brice Catherin, a cellist and a composer exploring the notion of the one-man-band concept, commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects), his feet, his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre, both strong, frequent features of my compositional oeuvre. After several meetings and experimentation with Brice, I chose asetup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself, but also helps create unique soundscapes that blend together with the sounds from the spring drums, the human voice (whistling, groans and other effects), a singing bowl, a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony), thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy, harmonious, distorted, etc.), based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C), played and recorded using a variety of attacks and triggering objects and methods. Emmelia is also the name of my baby daughter, who has been my constant inspiration since she was born.' - Evis Sammoutis.
SKU: HL.14028929
Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller, with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy, nostalgic, a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book, at its simplest, is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for all its musical material to become distorted, either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning', a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in, the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece, I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific, this change of heart doesn't really matter. ~ David Blake.
© 2000 - 2024 Home - New releases - Composers Legal notice - Full version