SKU: HL.14010856

ISBN 9780711960879. 0.575 inches.

Fuego Fatuo has an interesting history. Manuel De Falla (1876-1946), often regarded as the greatest Spanish composer of the 20th century, wanted to write an opera based around themes from Chopin, whomhe greatly admired. The stage work was never finished; however, several attempts have been made to arrange the work for orchestra, most successfully by the Catalan conductor Antoni Ros-Marba.

Despite its history,this orchestral suite is far from being a mere mish-mash of Chopin melodies; it is more of a meditation on Chopin's work in general, with the focus on the harmonic and textural elements which De Falla drew from his work.It forms a fascinating insight into the mind of a great musician.

SKU: HL.14015535

ISBN 9780711986220. 8.25x11.75x0.135 inches.

Howells wrote Penguinski for a visit made to the Royal College of Music in London on 10 May 1933. This score pays light and affectionate tribute to the considerable popularity of Stravinksy in London from the teens of the twentieth century. In Penguinski Howells creates a knockabout piece which shadowboxes Petrushka. Whilst underlining Howells's versatility, the score gives a colourful insight into the prevailing influences of the time, and is an intriguing example of how Stravinsky must have sounded to his English contemporaries.

SKU: HL.48024880

ISBN 9781784545154. UPC: 840126918670. 7.25x10.25x0.319 inches.

This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director. Memoire imperiale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played. Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars. For Sonny (2011, orch 2013) and Ein Lamplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra. Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various.

SKU: PR.41641576L

UPC: 680160636549. 11 x 17 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.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: HL.14028555

ISBN 9788759854938. 11.75x16.5x0.403 inches. English-Danish.

The Full Score of Saariaho's Verblendungen for Orchestra and Tape. The piece is dedicated to Esa-Pekka Salonen, who conducted the premiere performance in Helsinki, Finland with the Finnish Radio Symphony Orchestra in April 1984. With both orchestra and tape working in opposite directions of the tonal spectrum, this is a fantastic and expressive work that balances the contrast the two elements. Despite these tonal differences, the tape and orchestra join together in an inseparable sound world and form a breathtaking orchestral piece that moves through jagged, grainy sounds to smoother, more reflective moods.

SKU: OU.9780193533578

ISBN 9780193533578. 10 x 7 inches.

For full orchestra. For this comprehensive new edition, the editor Graham Parlett has drawn on all available sources, providing an authoritative full score with critical commentary. This edition also makes available new materials for the version for string orchestra and piano, and a new vocal score.

SKU: HL.14019146

ISBN 9788759855775. 12.0x16.5x0.525 inches. English.

The harmonic model for this piece is based on a subdivision of pitches in primary and secondary notes, in principle any chord can be viewed from it's structural qualities including interval content and symmetry, but it might also be conceived from a more acoustical point of view. The parallel basis for this work is a sequence of 12-tone chords repeated as a chaconne, every chord has it's Alter-Ego, an overtone series the fundamentals of which together form a bass line. By articulating the cycle differently, with always varied diagonal paths between two layers Lindberg has aimed to give the music some direction despite it's vague repetitive structure. Work for Orchestra premiered at the Queen Elizabeth Hall, London, by the London Sinfonietta under the direction of Esa-Pekka Salonen, April 1990.