SKU: AY.OR3659PM

ISBN 9790543576940.

Nave was commissioned by the Arturo Márquez Extraordinary Fellowship in Composition of the National Autonomous University of Mexico (UNAM). It is inspired by the Stultifera Navis (or The Ship of Fools) and by the book Madness and Civilization by Michel Foucault, in which the author explains that during the Middle Ages until the Renaissance, in some European cities, the madmen and the sick were placed on ships and thrown out of society. Exiled, with no place or course, they wandered through the seas and rivers, embarked on a symbolic quest for reason.

SKU: AP.49427S

ISBN 9781470650964. UPC: 038081571874. English.

Fireball was originally composed for the television broadcast of the bike race, Tour de France, for CBS Sports. The footage that inspired me featured dozens of bike racers at top speed racing down a mountain road. The stress and competition forces the riders into extremely dangerous situations reflected in the music. Thank you to Lynne Latham for the great ending idea. (2:25).

SKU: PR.416415760

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

SKU: HL.51489064

UPC: 840126937640. 6.75x9.5x0.214 inches.

The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracle”, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

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SKU: HL.49010050

ISBN 9790200205091. 5.25x7.5x0.167 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

SKU: HL.49010022

ISBN 9790200204797. 5.25x7.5x0.171 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

SKU: EC.RBM-253

Casey at the Bat was commissioned in 2001 by the Dallas Symphony Orchestra as a part of their Americana concert series from that season. The work is a colorful and highly descriptive narrative setting of the famous poem, “Casey at the Bat” by Ernest Lawrence Thayer, first published in an 1885 edition of The San Francisco Chronicle.(The poetry has been slightly paraphrased from the original to replace some arcane terminology.)This composition was conceived in a distinctly cartoonish style – reminiscent of the orchestral music so masterfully created by Carl Stalling and other great film score writers during the Golden Age of the animated short. In addition to brief quotes from Till Eulenspiegel of Richard Strauss, the melody from Take Me Out to the Ballgame (Tilzer-Norworth) is interpolated throughout the fabric of the piece (although the lyrics are never sung).The first performance of this work took place during the Spring of 2001, under the baton of Richard Kaufman and featuring Pat Sajak as narrator of the well-known poem.Audio excerpts from a matchless narrative performance of this piece by Shakespearean actor Sir Derek Jacobi (with the National Symphony of London and the composer conducting) are included below for perusal purposes. The full performance may be purchased as an audio file from Kodanja Records of Dallas, TX. ( dur: 8’ )

SKU: PO.ME08S

ISBN 9780958346771.

Commissioned by the Auckland Philharmonia Orchestra, the opening ideas of this short but lively work call the listener to attention as they build to release a rushing-away line. The elements of this opening—three repeated notes, the falling bass-line and the scurrying string figures—provide the material from which the rest of the piece grows. The strong contrasts of the opening, however, continue throughout the movement, with frequent surprises as textures and surface rhythms change—sometimes surging forward, sometimes held back. But behind this is the steady one-in-a-bar beat of the classical scherzo, providing a background rhythmic continuity to tie the surface contrasts together.

SKU: HL.14026108

UPC: 884088811266. 0.408 inches.

Composer's Note Once, we had a joint conception to create a concert telling a life story. The premiere was planned to take place on the Acropolis in Athens. It was intended to be a large event, a hybrid of a mystery play and an opera. Krzysztof Kieslowski would be the director, Krzysztof Piesiewicz was responsible for the script, and I was planning to compose the music. We thought it might be the first of a series of musical performances, to be developed in various interesting places around the world in the next few years. But it was life that authored a different ending: Krzysztof Kieslowski died in March of 1996. The first part of Requiem for My Friend is meant as a farewell to Krzysztof Kieslowski. I dedicate this music to him. Zbigniew Preisner.