SKU: AP.1-ADV40011
UPC: 805095400113. English.
The Stranger is titled after the novel of the same name by the French existentialist philosopher and writer Albert Camus. The piece seems to capture some of the general mood of the story, with its underlying feeling of melancholy and sense of inevitability. Since the music is written in an even eighth-note style, with either a contemporary classical or a Latin rhythmic feeling, the string section is not required to phrase in a jazz or swing style. The use of light percussion rather than a drumset makes the arrangement ideal for acoustic performance without amplification.
SKU: AP.1-ADV40010
UPC: 805095400106. English.
SKU: PE.EP14581
ISBN 9790014137175.
Memory jolts. Flashes of pink in the brain. by Clara Iannotta is a 17-minute work for string orchestra. Written for the non bthvn project of the Cologne Philharmonic, the work reflects Beethoven's hearing loss and the unbearable condition when his ears began to buzz and roar. The title describes the memory jolts that take place in the inner ear.
Memory jolts. Flashes of pink in the brain. was premiered by Ensemble Resonanz on 31 October 2021 at the Philharmonic Hall Cologne.
The full score (EP 14581) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: HL.49018099
ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.
SKU: HL.50499268
ISBN 9790080148150. 10.5x14.5x0.7 inches. Ferenc Javori.
In the past decade the Budapest Klezmer Band and the Ferenc Liszt Chamber Orchestra have proved in their joint concerts that the melodic world of the instrumental music of the Ashkenazic Jews of Eastern Europe and an ensemble consisting of the clarinet, piano, accordion, trombone, violin, double bass and percussion can be successfully combined with the sound of the classical orchestra. Ferenc Javori's Klezmer Suite has become part of the repertoire of both ensembles, and has scored notable success both in Hungary and abroad. The printed edition made the work accessible for other ensembles as well. The movements can also be performed separately.
SKU: HL.49044525
ISBN 9790220135569. UPC: 888680080495. 8.25x11.75x0.388 inches. English.
Taking Thomas Hardy's short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person's actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur.Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely.Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan.As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.
SKU: HL.14048342
12.0x14.25 inches. English.
Kevin Volans' Piano Concerto No. 4 was commissioned by Birmingham Contemporary Music Group, with financial assistance from Arts for All and many individuals through BCMG's Sound Investment Scheme. The world premier took place on 11th November 2016, performed by Barry Douglas (Piano) with Birmingham Contemporary Music Group, conducted by Geoffrey Paterson. Spiral bound.
SKU: HL.48010942
UPC: 073999928303. 10.0x13.5x0.224 inches.
Contents: Concerto for Violoncello and Orchestra * Caprice and Elegy for Violoncello Solo and Chamber Orchestra.
SKU: HL.48010456
UPC: 073999164503. 8.25x11.75x0.239 inches.
Full Orchestra Music Set contains strings: 8-8-6-6-6.
SKU: HL.48010351
UPC: 073999366594. 8.75x11.75x0.4 inches.
Archive Edition Full Orchestra Music Set contains strings: 8-8-6-6-6.
SKU: HL.48010380
UPC: 073999191806. 9.25x12.0x0.263 inches.
Orchestra Music Set contains strings: 8-8-6-6-6.
SKU: HL.48010897
UPC: 073999916454.
Strings Together Level 3 Contents: Madam Cole * Wild-west Shaker * Sarabande * Music from Outer Space * Jamaican Rumba.
SKU: HL.48011549
UPC: 073999158526.
Session Time is an album of solos that expand to create opportunities for exciting group music-making. Each piece can be played as a solo or as a group piece. The optional ensemble parts extend the harmonic and musical structure of each piece, enabling each performer to play an important part in the group.
SKU: HL.49019505
ISBN 9790001193139. UPC: 884088945206. 8.25x11.75x0.364 inches.
The work was originally written for cello and orchestra. In nine movements after the nine muses.
SKU: HL.48014029
UPC: 073999672411. 9.5x12.0x0.204 inches.
String Orchestra Music Set contains strings: 8-8-6-6-6.
SKU: HL.14042085
ISBN 9788759825891.
Orchestra score. Parts available for hire from Wilhelm Hansen.
SKU: HL.48023595
ISBN 9781784540722. UPC: 888680095741. 7.25x10.5 inches.
Concert overture for orchestra, first performed in 2007 by the London Symphony Orchestra.
SKU: HL.48010540
UPC: 073999932393. 9.25x12.25x0.104 inches.
String Insert for 48010539.
SKU: HL.50156270
UPC: 884088111694. 9.25x12.25x0.158 inches.
(1-1-1-1-1).
SKU: HL.48023594
ISBN 9781784540647. UPC: 888680095062. 8.25x11.75 inches.
Composed for large orchestra between 1985-87 and not premiered until 2014 by the BBC Scottish Symphony Orchestra. 'Keening' is a form of vocal lament and mourning.
SKU: HL.14043186
ISBN 9788759831137. 11.75x8.25x0.44 inches.
Vogel Und Fanger by the Danish composer Bent Sorensen , scored for Vegetable Orchestra.
SKU: HL.48007272
UPC: 073999072723.
Archive Edition Contents: Rondo (Pleyel) * Gavotte (Handel) * Bagatelle (Beethoven) * Hoe Down (Burgoyne) * Pelican Pie (Nelson).
SKU: HL.48010758
UPC: 073999764574. 9x12 inches.
Contents: Entry of the Priests (Gluck) • March in Bb (Beethoven) • Roneau (Purcell) • Gavot (Boyce) • Two Dances (Praetorius) • Praise to the Lord (trad.) • At Church (Tchaikovsky) • Shortnin' Bread (trad.).
SKU: HL.14042350
ISBN 9788759826164.
Søren Nils Eichberg's Morpheus - Concerto for Orchestra (2013). Commissioned by The Danish National Symphony Orchestra / DR.
Parts are available on hire: hire@ewh.dk
Programme note
Morpheus in the Greek mythology is the most powerful of the Oneroi, the gods of dreams. He is the one who sends us our dreams and he may appear to us within the dreams in disguise.
Analogous to the logic of dreams, in Morpheus everything is interwoven, as chains of associations appear to logically lead us from one line of thought to another. Everything seems strangelyfamiliar. But the logic is treacherous and we already feel, it may only be valid within the dream. Nothing that appears similar is actually ever really the same.
Half awakening, we struggle to hold on to a vanishing world we felt we were on the verge of understanding, but which we already know will eventually escape us when we fully awake.
Everything remains a mystery until the end.
The seven movements/dreamscapes are:
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