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Another life
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No other people (BARRY GERALD)
Orchestra
[Study Score / Miniature]
Schott
for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Ray...
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for orchestra. Par BARRY GERALD. 'The title, No other people., is taken from Raymond Roussel's New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write - a length of time mainly caused by his tortuous compositional methods. In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. I'm not aware of any direct, illustrative connection between the music of No other people. and Roussel's book. But I was very struck by the everydayness of Zo's drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing. Something of this is in the music.' Gerald Barry, 2009/ Répertoire / Orchestre
19.42 EUR - Sold by LMI-partitions
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Charles E. Ives: Symphony No. 3: Orchestra: Score
Orchestra
Associated
Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most ...
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Score-Charles Ives' Third Symphony ‘The Camp Meeting’ is the most concisely-scored of his five symphonies. Containing only Strings a few Winds Horns and Trombone this is a clear and uncluttered reminiscence of nineteenth centuryAmerica as viewed through some of its traditional hymn tunes and in doing so evokes the old 'camp meetings' which were such a feature of pioneer life. The first movement ‘Old Folks' Gatherin'’ is a patchwork of hymntunes drifting through an unpredictable constantly changing harmonic orientation. After a climax is reached a quiet passage opens with oboe and flute over hushed distant strings. Ives reintroduces part of the middle section and settles down to a quiet coda ending the movement almost imperceptibly. The second movement ‘Children's Day’ opens with strings in two parts over Haydnesque eighth notes in the horns. ‘There is a Fountain Filled withBlood’ ‘Happy Land’ ‘Naomi’ and ‘There's Music in the Air’ all are heard. As this is a movement depicting children at play Ives is playful himself weaving hymn tunes into one another in a somewhat tongue-in-cheek manner. Thethird movement ‘Communion’ is darker in tone than the others and provides a psychologically satisfactory close to the work as a whole. This is the 1990 edition of the Score The Charles Ives Society Critical Edition edited byKenneth Singleton and reprinted in 2001. It contains substantial notes on Ives and this work.
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A Room of One's Own (OUTI TARKIAINEN) (OUTI TARKIAINEN)
Orchestra
[Score]
Wilhelm Hansen
Par OUTI TARKIAINEN. A Room of One's Own is based on Virginia Woolf's classic es...
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Par OUTI TARKIAINEN. A Room of One's Own is based on Virginia Woolf's classic essay of the same name of 1928. The libretto is by the German opera director, dramaturg and librettist Francis Hüsers and the opera seeks to answer the question of why, from one century to another, women merely flit as shadows across the stage in the arts and history. The opera is set in 1920s England and has three main characters. Each called Mary, they are all intelligent, educated women whose seemingly light conversation leads them into ever deeper waters and who ultimately spread before the viewer's eyes the whole gamut of human life, in all its grittiness, passions and realities. / Date parution : 2023-03-11/ Répertoire / Orchestre
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Nicolas Bacri: Concerto Amoroso 'Le printemps' (2005) opus 80/2
Français
Orchestra
[Sheet music]
Chant du Monde
Solo for Oboe or Violin-'The title only appears frivolous to those who have live...
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Solo for Oboe or Violin-'The title only appears frivolous to those who have lived little. With the passage of time the seasons that pass the differences in quantity and quality of light of temperature and weather become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes incredulous and wondrous events that we can only experience once in a lifetime: our birth our blossoming our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto this time with Lisa Batiashvili that the idea came to me for a cycle of four concertos with each time a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico l’automne’ whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind hence the ‘Concerto amoroso le printemps’ was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years it was quite naturally that I thought of completing this cycle for François Leleux with winter ‘Concerto tenebroso’ created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude with a work that reunited all four protagonsits. It was summer the ‘Concerto luminoso’ which took on this role’.
24.99 GBP - Sold by Musicroom UK
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