SKU: HL.50600470
8.25x11.75x0.183 inches.
“In early 2006 I was commissioned to write a piece to be premiered in a church. Before beginning work on it, I tested the acoustics there, according to which the compositional concept developed. Somewhat later I began to compose the piece 'with the church', so to speak. During the process of composition, however, the music gradually distanced itself from the original spatial conditions and developed into a piece whose characteristics were transformed into a church-acoustical structure. 'I see your music when I hear it', a listener once said to me. Does one really see the music? Can fragrances be heard? Or can one smell colours? This 5-part composition is music in which the tones move in space on different levels, even when they are sometimes very quiet and slow; they are clear and transparent even when they are apparently dense, complicated and energetic.†(Xiaoyong Chen).
SKU: HL.283507
Exit Music for Orchestra was composed by Bent Sorensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra, and is dedicated to Per Norgard on the occasion of his 75th birthday. Programme note It began with a dream, as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door, but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music, and started to hear it, to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams, and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby, which continues to reappearin fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song, which concludes the piece on the strings, very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms, which push the songs out of the room. (Bent Sorensen).
SKU: HL.244903
8.5x12.0x0.103 inches.
Bryce Dessner's Lachrimae was commissioned by the Amsterdam Sinfonietta, the Scottish Ensemble, and the Norwegian Chamber Orchestra. Composer's Note: Lachrimae is a direct reference to John Dowland's work of the same name. I had played that that piece in school on guitar and decided that I wanted to base something on it. Dowland himself adapted the piece several times into different versions and there's also a Benjamin Britten composition based on the same piece of music, so that was part of my inspiration. When I wrote my work I waslistening to string orchestra music and I think Bartok's Divertimento is the pinnacle of string writing. So the piece is kind of equally inspired by Dowland's Rennaissance Lachrimae and by Bartok's Divertimento.
SKU: PR.416415720
UPC: 680160636150.
Illuminating Journey is composed to celebrate Maestro Carl St. Clair's 25th Anniversary season with Pacific Symphony. Maestro St. Clair is one of the few conductors who has dedicated his time to new music and support for living composers. I first encountered Maestro St. Clair in 2004 when I was one of the finalists for the Young Composers Competition. After I won that competition, I had an opportunity to work with Maestro St. Clair on the piece that he commissioned for the Pacific Symphony in 2005. That's the beginning of the journey of our friendship. Illuminating Journey is inspired by Maestro St. Clair's personality and the music he loved. The piece is mainly based on the pitch material from Maestro St. Clair's name CARL which can be translated as C = C, A = A, R = Re, and L = La. That pitch material already has the character of Illuminating sound for the open 5th and octave. The piece also incorporates some musical references that have some meaning for Maestro St. Clair, such as the hopefulness of the melodic intervals from West Side Story, There's a Place for Us, composed by Leonard Bernstein, who was also Maestro St. Clair's mentor. Illuminating Journey starts with the rhythmic motion of the pitch C and moves on to create a set of pitches. The note C functions as a center for the endless energy of this piece and creates a triumphant ending. I would personally like to thank Maestro St. Clair for his dedication on my music and his friendship throughout the past 10 years. The work with Maestro St. Clair and the Pacific Symphony was an early step in my career as a composer. I often mentioned that I may not be able to come this far without that part of my life. Thank you very much, Maestro St. Clair and the Pacific Symphony. Let's celebrate our Illuminating Journey together.
SKU: PR.41641572L
UPC: 680160636167.
SKU: LO.30-3671L
UPC: 000308152630.
Orchestral Score and Parts for 10/5300L From The Body of Christ (55/1197L), this extended anthem walks through Christ’s progression to the cross in a deeply moving way. It incorporates O Sacred Head, Now Wounded and When I Survey the Wondrous Cross and narration is interspersed throughout as images are painted of Jesus’ trial, crown of thorns, crucifixion, and death. Include the full congregation for the final soaring verse of When I Survey the Wondrous Cross..
SKU: LO.30-3672L
UPC: 000308152647.
Orchestral Score and CD with Printable Parts for 10/5300L From The Body of Christ (55/1197L), this extended anthem walks through Christ’s progression to the cross in a deeply moving way. It incorporates O Sacred Head, Now Wounded and When I Survey the Wondrous Cross and narration is interspersed throughout as images are painted of Jesus’ trial, crown of thorns, crucifixion, and death. Include the full congregation for the final soaring verse of When I Survey the Wondrous Cross..
SKU: HL.263038
UPC: 888680952907. 12.0x16.5x0.565 inches.
“Over the years my orchestral music has become simpler and more expansive. Clouds of Forgetting, Clouds of Unknowing (1991-95) contains four different musical textures. In the White Silence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007), I finally got to one. When I first heard that piece I began to wonder if I could sustain a similar sound for a longer span of time. The result is Become Ocean, a meditation on the vast, deep and mysterious tides of existence. The title is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta, Cage writes: Listening to it we become ocean. Life on this earth first emerged from the sea. And as the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.†John Luther Adams.
SKU: HL.14027993
ISBN 9788759811832. English.
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo3 Oboes, 3rd also Cor Anglais in F3 Clarinets in Bb, 3rd also Bass Clarinet in Bb3 Bassoons, 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion, four playersPlayer 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium)Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese CymbalPlayer 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle CymbalPlayer 4 - Bass Drum, Glockenspiel, Xylophone1 Harp1 Piano, also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes, except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical.
SKU: HL.51489051
ISBN 9790201890517. UPC: 888680950583. 6.5x9.5x0.202 inches. Preface: Ullrich Schneidler.
Joseph Haydn's so-called Paris Symphonies were composed in 1785 and 1786 for the masonic lodge “Société Olympique†in Paris, which ran a large orchestra and organised regular concerts. These six works are notable for their artful motivic work and playful wit. Haydn here pays tribute both to the discerning taste of the Paris audience and to the excellent abilities of the musicians in the orchestra. These symphonies rapidly became famous and popular throughout Europe, thanks to editions published variously in Paris, Vienna and London. The Symphony no. 83 is the only Paris Symphony in a minor key. Its nickname “La Poule†(“The henâ€) was not coinedby Haydn. But it's almost impossible not to be reminded of the bird when listening to the oboe's “cluckings†in the second theme of the first movement. This study edition reproduces the musical text of the Haydn Complete Edition, which is a guarantor of the finestscholarship. An informative preface and a brief critical report make this handy score an ideal companion for all Haydn fans, both present and future.
SKU: HL.49001811
ISBN 9790001024136. UPC: 073999276060. 9.0x12.0x0.129 inches.
Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'harlequinade' often appearing in Telemann's overture suites obtains its attraction not least from syncopes and from a permanent change of tone colour. The 'Espagniol' whose title prom-ises a bit of urbanity turns out to be a saraband, the 'Bourree en Trompette' justifies its name by the tone repetitions typical of trumpet music.In the context of the whole, the 'Sommeille', a harmonically unusual movement in C minor, is almost a piece across the border. Even in this gently rocking piece, Telemann is not at a loss for unobtrusive wit when he lets the upper parts die down shortly before the end, only a single bass tone represents the last chord.
SKU: HL.49001813
ISBN 9790001024150. 9.0x12.0x0.28 inches.
SKU: LO.30-1493L
UPC: 000308074642.
John's Gospel is the basis for an innovative new musical setting of the timeless Easter story. The composer weaves striking new melodies and traditional hymn tunes together to produce a vibrant, energetic work of meditation and praise. The congregation is called on to sing with the choir in a sensitive setting of When I Survey the Wondrous Cross and a rousing arrangement of Crown Him With Many Crowns. New settings of What Wondrous Love Is This? and O Sacred Head, Now Wounded are ingeniously intertwined with new anthems. An inspirational and deeply moving experience for choir and congregation alike. Performance time: approx. 25 minutes. Flute 1 & 2, Violin 2, Viola, Cello, Double Bass, Oboe 1 & 2, Horn, Trumpet 1 & 2, Trombone 1 & 2, Tuba, Percussion (Windchimes, Suspended Cymbal) Glockenspiel,Triangle,Chimes, Snare Drum,Timpani, Harp, Violin 1.
SKU: LO.30-3209L
UPC: 000308141030.
This stunning and tender pairing of the beloved folk melody with Isaac Watts's immortal text starts quietly and, with transparent vocal lines, gradually builds through a reflective chorale-like statement of the stanza to a soaring finish. (From the cantata The Easter Story, SATB--55/1172L) The instrumental ensemble includes a score and CD with printable parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 2 Horns (sub 2 Alto Saxes), 3 Trumpets, 2 Trombones (sub 2 Tenor Saxes), Tuba, 2 Percussion, Timpani, Harp, Piano, 2 Violins, Viola, Cello, Bass, and Keyboard String Reduction.
SKU: LO.30-3770MD
UPC: 000308155648.
SKU: WD.080689552786
UPC: 080689552786.
About Sunday Sounds Series
Sunday Sounds Series Instrumentation:Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles C Bass), Alto Sax (doubles French Horn), Tenor Sax (doubles Trombone,) Bari Sax (doubles C Bass)Brass: 2 French Horn, 3 Trumpet, 2 TrombonePercussion: PercussionStrings: 2 Violin, ViolaAdditional Parts: C Bass (Bassoon, Bass Trombone, Tuba, Cello, String Bass), Piano/Bass/Guitar, Drum Set, Harp, String Reduction
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: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
