SKU: HL.14018684
12.0x8.25x0.049 inches.
Jonathan Harvey (1939-2012) was a British composer who studied at St Johns, Cambridge and Princeton, and who later taught at various universities and conservatoires across Europe and North America. His psychedelic work Laus Deo has become a brilliant showcase for 20th century Organ music. Commissioned by Simon Preston in 1969, it was supposedly inspired by a dream in which an angel played the main themes to him on an Organ: Harvey said he finished the piece within 12 hours of waking from the dream. It has since become known for its ear-piercing dissonances and exciting cluster chords.
SKU: MN.12-115
UPC: 688670121159.
Pedals only and Large Tam-Tam. The Kraken is a work for organ pedals with the player also playing a large tam-tam (or the player could also be joined by a percussionist.) It is based upon the poem by the same name by Alfred Lord Tennyson (1809-1892.) The Kraken is a mythical Norse sea monster. The opening lines of the poem give the setting for the music, which starts on the lowest possible pitches and works upward to a frenzy in both instruments: Below the thunders of the upper deep, Far, far beneath in the abysmal sea, His ancient, dreamless, uninvaded sleep The Kraken sleepeth.
SKU: HL.49033297
ISBN 9790001137751. UPC: 884088070496. 9.0x12.0x0.158 inches.
Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' The Turn of the Screw which was the direct inspiration for this monodrama.Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso).Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys.
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