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: IS.OR7575EM
ISBN 9790365075751.
The future of our fragile world is in our hands. As Sir David Attenborough stated on the Climate Conference in Glasgow on November, 1st, 2021: ... We are already in trouble. The stability we all depend on is breaking. This story is one of inequality, as well as instability. Today, those who’ve done the least to cause this problem, are being the hardest hit. Ultimately, all of us will feel the impact, some of which are now unavoidable. ... We’re going to have to learn together, how to achieve this, ensuring none are left behind. We must use this opportunity to create a more equal world and our motivation should not be fear, but hope. ... . We must be more caring about the wonderful place we live in... our unique home: Planet Earth. This music is both a shoutout to take care of our planet and a hymn to the beauty of this place. The composition is suited for stage as well as for the enjoyment in music school orchestral practice.
SKU: HL.14008415
UPC: 884088808242. 8.5x11.0x0.261 inches.
This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins. This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous - crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm. The plainsongs 'Dies Irae' and 'Victimae Paschali Laudes' are used throughout the work - the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation - the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological 'magic square' patterns. The orchestra consists of double woodwind, two horns, two trumpets and strings.
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.14027994
ISBN 9788759864593.
New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.
SKU: HL.49018056
ISBN 9790001168298. UPC: 884088531195. 9.0x12.0x0.097 inches.
Harald Genzmer has done a lot for the work with young musicians, and many a string player can recall school orchestra days when Sinfonietta was on the programme quite often. But the probably best-known pupil of Hindemith has written far more of such educational music: all in all, 3 sinfoniettas, apart from collections of simple settings like the eleven Character Pieces for String Orchestra from 1998. They are expressive, entirely songlike miniatures, livened up by two rousing pieces and a pizzicato setting.The pieces can either be played separately or put together into little suites and are ideally suited for school, hobby and amateur orchestras. And despite all educational intentions: It is enjoyable and lively music which is fun to play.
SKU: AP.48062
UPC: 038081556826. English.
Imagine the quiet, the anticipation, the tree, and all the lights as Christmas Eve becomes Christmas, and you will have the feel of this beautiful rock ballad, Midnight Christmas Eve. As seen in the Trans-Siberian Orchestra stage show The Christmas Attic, this lyric piece, arranged by Bob Phillips, will add depth to any holiday or winter concert. Though an easy piece for high school orchestras, the optional electric violin and guitar parts provide the perfect chance to feature an electric instrument and a more advanced player. If you haven't seen TSO, check it out online and then share this one with your students. Perhaps include a field trip to see the band live with lights and effects. Listen to the original recordings of TSO to decide which distortion effects to use with the electric violin or electric guitar. This is a great listening exercise for the kids. (4:05) This title is available in MakeMusic Cloud.
SKU: AP.48062S
UPC: 038081556833. English.
Imagine the quiet, the anticipation, the tree, and all the lights as Christmas Eve becomes Christmas, and you will have the feel of this beautiful rock ballad, Midnight Christmas Eve. As seen in the Trans-Siberian Orchestra stage show The Christmas Attic, this lyric piece, arranged by Bob Phillips, will add depth to any holiday or winter concert. Though an easy piece for high school orchestras, the optional electric violin and guitar parts provide the perfect chance to feature an electric instrument and a more advanced player. If you haven't seen TSO, check it out online and then share this one with your students. Perhaps include a field trip to see the band live with lights and effects. Listen to the original recordings of TSO to decide which distortion effects to use with the electric violin or electric guitar. This is a great listening exercise for the kids. (4:05) This title available in MakeMusic Cloud.
SKU: KJ.SO60C
Over the years, God Rest Ye Merry, Gentlemen with its simple, plaintive melody and joyous words, has become a holiday favorite in the world over. Although this traditional English carol is often said to be in a minor key, it is actually in the Aeolian mode, (also known as natural minor), which is different from the more common harmonic form of minor in that the Aeolian mode's leading tone is a whole step from the tonic.The encouraging words of this carol are an inspiration to people everywhere.
SKU: BR.PB-14613
The study score (,,Studien-Edition) is available at G. Henle Verlag.
ISBN 9790004214886. 10 x 12.5 inches.
The Eroica according to the Complete EditionExploring the Eroica is the name of the essay with which the editor made herself known back in 1998 and which contributed decisively to the research into the complex transmission. Written in 1803, the autograph of the work is lost today. The title Sinfonia Eroica is already found in the first edition (but only there as well). The main source of the edition is the copy of the score, which was carefully examined and emended by Beethoven, and into which he made corrections even after the appearance of the first printed set of parts. In addition, the copies of the parts used for first performances (before publication) as well as the extremely error-filled first edition of the instrumental parts are also relevant; more so, however, is another printed set that Beethoven personally revised. Thanks to the new performance material, the musical text of the new Beethoven Complete Edition can now also be heard alternatively to the Breitkopf Urtext edition by Peter Hauschild (PB/OB 5233).
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