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.

SKU: PR.11641867S

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

SKU: HL.48188488

UPC: 888680866952. 8.5x11.75x0.543 inches.

“Composed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).”.

SKU: BT.ALHE32608

French.

Composed in 1978 by Henri Dutilleux, Timbres, Espace, Mouvement Ou La Nuit Etoileé is a work for Orchestra, also named “The Starry Night” after the painting by Van Gogh. It was commissioned by Mstislav Rostropovich for the National Symphony Orchestraof Washington and is dedicated to Charles Münch.This work for Orchestra lasts approximately 20 minutes and depicts the content of the painting. It is scored for a full Orchestra without Violins or Violas. The Cellos serve to represent space, with swirling solos alongside calmer sections, while thelack of Violins and Violas epitomises for the quiet and motionless sections of the painting. The solo of the Wind instruments and Drums characterizes the clouds and the light of the moon and stars.It is divided into two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude.