SKU: HL.14042378
Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Christopher Chamber Orchestra and Donatus Katkus. 6; for String Orchestra World premiere: 25th April 2013, St. Katharine's Church, Vilnius, St. Christopher Chamber Orchestra, conducted by Donatus Katkus. UK premiere: 10th May 2013, Cardiff Millennium Centre, Vale of Glamorgan Festival. I - Casa di Caccia Antica (The House of the Ancient Hunt) II - Casa degli Amorini Dorati (The House of the Golden Cupids) III - Casa del poeta tragico (The House of the tragic poet) IV - Return to the Casa di Caccia Antica and northwards to Lithuania and the Amber Road (Gintaro Kelias) The piece is in fourshort movements, each taking its title from one of the houses that line the main streets in Pompeii. Borrowing Mussorgsky's 'Promenade' from Pictures at an Exhibition, the piece has two walkers (violas) who take the listener with them onto the Via Della Fortuna , then lead them from house to house. Several amber objects were found within the houses, linking Pompeii with Lithuania. The last movement returns to the House of the Ancient Hunt then heads northwards along the Gintaro Kelias. The jubilant closing music refers to an earlier work (Geda's Weavings) based on Lithuanian folksongs.
Via Della Fortuna by Sadie Harrison. Written in 2013 especially for the St. Christopher Chamber Orchestra and Donatus Katkus.
6; for String Orchestra
World premiere: 25th April 2013, St. Katharine'sChurch, Vilnius, St. Christopher Chamber Orchestra, conducted by Donatus Katkus.UK premiere: 10th May 2013, Cardiff Millennium Centre, Vale of Glamorgan Festival.
I - Casa di Caccia Antica (The House of the AncientHunt)II - Casa degli Amorini Dorati (The House of the Golden Cupids)III - Casa del poeta tragico (The House of the tragic poet)IV - Return to the Casa di Caccia Antica and northwards to Lithuania and the Amber Road(Gintaro Kelias)
The piece is in four short movements, each taking its title from one of the houses that line the main streets in Pompeii. Borrowing Mussorgsky's 'Promenade' from Pictures at an Exhibition, the piece has twowalkers (violas) who take the listener with them onto the Via Della Fortuna, then lead them from house to house. Several amber objects were found within the houses, linking Pompeii with Lithuania. The lastmovement returns to the House of the Ancient Hunt then heads northwards along the Gintaro Kelias. The jubilant closing music refers to an earlier work (Geda's Weavings) based on Lithuanian folksongs.
SKU: BO.B.3292
English comments: This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music criticComentarios del Espanol:Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.
SKU: CF.YAS5
ISBN 9780825843808. UPC: 798408043803. 8.5 X 11 inches. Key: G major.
Born in Bologna, Italy, Adriano Banchieri studied composition and organ and was a member of the Olivetan Order where he lived and worked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.Born in Bologna, Italy, Adriano Banchieri studied composition andorgan and was a member of the Olivetan Order where he lived andworked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: FJ.ST6537
UPC: 241444438824. English.
Depicting a scenic drive up the historic first road in Rocky Mountain National Park, this highly accessible work is based on a D major scale with stepwise motion in all parts and string crossings on open strings. Musical motifs are shared throughout the ensemble as the beauty of nature takes center stage in this peaceful, yet joyful work.
About FJH Beginning Strings
Appropriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5
SKU: FJ.ST6473
UPC: 241444399538. English.
This lively triple-meter dance from the 16th century is very popular with classical guitarists and is now a wonderful addition to the string orchestra repertoire. Pizzicato accompaniments interact with a playful melody that is cleverly developed throughout the ensemble. A delightful work perfect as a change of pace on any program.
SKU: M2.MOS-40170-60
ISBN 9790203743705.
SKU: M2.MOS-40170-61
ISBN 9790203744702.
SKU: CF.CAS34
ISBN 9780825861055. UPC: 798408061050. 8.5 X 11 inches. Key: E minor.
Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching. Nicely done!.Cliffhanger is a programmatic work for string orchestra that harkens back to the days of silent film. One of the lasting images of that time period is the Saturday-afternoon matinee, where each episode ended on a cliffhanger until it could be continued next week. This piece tells the familiar story of the damsel in distress who is tied up to the train tracks as a train is approaching.The opening of the piece sets the scene with danger and desperation. By m. 6, our hero is making his way on horseback to rescue the fair maiden. This main melody is developed and passed around the ensemble until m. 36, at which point despair sets in. The music is rich with romantic harmonies and inner lines. Be sure to bring out these inner lines to add to the passion and drama of the moment. It continues to build until a thunderous arrival at m. 49. From there we return to our hero, who is now getting close to the train tracks to save the fair maiden. The tension becomes the highest at m. 61, when we are still not sure if our hero will make it in time. But alas, at m. 68 he swoops in to save the day and rescue the fair maiden. Of course, they live happily ever after.My hope is that your ensemble will have some fun with this style of music. It was adapted from an arrangement I wrote for the new pipe organ at the Walk Disney Concert Hall in Los Angeles. They wanted some scary train music to show children how the organ was used back before movies had sound. Strings provide a heightened sense of drama with this genre of music.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: FJ.ST6459
UPC: 241444389492. English.
This arrangement of In the Bleak Midwinter captures the sentiment of the holidays by placing Holst's beautiful melody in a lush string orchestra atmosphere. Each section contributes with lyrical motives and nuanced harmonies while students have the opportunity to practice bow distribution, tone, and balance.
About FJH Developing Strings
Slightly more advanced than Beginning Strings, this series begins to involve more position work and a slightly more complex rhythmic figures. Rehearsal piano is often provided. Ideal for middle school and smaller high school programs. Grade 2 - 2.5
SKU: FG.55011-393-0
ISBN 9790550113930.
Sirkka Kuula has transcribed Toivo Kuula's violin-piano-, organ and choral works for string orchestra. They are ideal for music schools' string ensembles: themes move from one instrument to another, so that everyone will have fun content to play, many of the works have easy parts so that even those who have just started learning the instrument can join, and further: some of the works have solo parts so that they can be used as solo works as well. All parts are ready to be used with bowings printed on them. In this series a total of three volumes of transcriptions will be published. Vol. 1 and Vol. 2 are for string orchestra, Vol. 3 for violin orchestra (or three violins). The package contains score and parts (33221 + one each easy parts + one each solo parts).
SKU: FG.55011-394-7
ISBN 9790550113947.
Sirkka Kuula has transcribed Toivo Kuula's violin-piano-, organ and choral works for string orchestra. They are ideal for music schools' string ensembles: themes move from one instrument to another, so that everyone will have fun content to play, many of the works have easy parts so that even those who have just started learning the instrument can join. All parts are ready to be used with bowings printed on them. In this series a total of three volumes of transcriptions will be published. Vol. 1 and Vol. 2 are for string orchestra, Vol. 3 for violin orchestra (or three violins). The package contains score and parts (333221) (violin 3 in lieu of viola). Vol. 2 sisaltaa seuraavat teokset / contents of Vol. 2: Etelapohjalaisia tansseja 1-4, Kansanlaulu nro 2, Scherzino, Valse lente, Preludi, Siell' kauan on jo kukkineet omenapuut, Kuin maan ja mantereen, On Herran templiin tulla, Minun kultani kaunis on.
SKU: FJ.ST6511
UPC: 241444418888. English.
Expand the reach of your holiday program with this wonderful arrangement of the medieval carol Personet Hodie (Let resound today in Latin). Often relegated to choir, this version for strings and percussion showcases bold, powerful lines and a strong rhythmic backdrop. An excellent addition to any winter program.
SKU: FJ.ST6483
UPC: 241444402184. English.
Experience this poignant folk song about loneliness and desire that builds from a solitary melody to an emotional, harmony-driven climax. Smooth textures and flowing melodies meld seamlessly with dramatic phrases as the work develops. An inspiring and unique arrangement of a delightful folk song.
SKU: FJ.ST6537S
English.
SKU: FJ.ST6430
UPC: 241444378052. English.
This elegant waltz conjures images of a masquerade ball set in stately 18th century Europe. One can imagine ballroom dancers gliding about as the delightful melody passes throughout the sections in a very organic way. The piece features easy low 1 fingerings and the opportunity to perform in the classical style.
SKU: FJ.ST6473S
SKU: BP.CU1003B
Full score, 2 trumpet, 4 horn, trombone, tuba, string quintet (2 violin, viola, cello, bass/copies for a complete string orchestra section), organ and percussion parts for the above title.
SKU: BT.DHP-1135492-080
9x12 inches. English-German-French-Dutch.
On request of Brass Band Midden Brabants chairman, Robert Leveugle, Jan Van der Roost composed this quiet piece with its broad tones. The source of inspiration was a visit of the composer to the beautiful cathedral of Canterbury, in which so many fine compositions have sounded throughout the ages. Besides solo phrases, there are some broad and massive tutti phrases, which make the orchestra sound like a majestic organ. Op verzoek van de voorzitter van Brass Band Midden Brabant, Robert Leveugle, schreef Jan Van der Roost deze serene en weids klinkende compositie. De directe aanleiding ertoe was een bezoek van de componist aan de prachtige kathedraal van Canterbury, waar eeuwenlang al zoveel prachtige muziek heeft geklonken. Naast solistische passages komen enkele brede en massief klinkende tuttipassages voor die het orkest als een majestueus orgel laten klinken. Auf Wunsch des Vorsitzenden der Brass Band Midden Brabant, Robert Leveugle, schrieb Jan Van der Roost diese heitere und großartig klingende Komposition. Der direkte Anlass dazu war ein Besuch des Komponisten der prachtvollen Kathedrale von Canterbury, wo schon seit Jahrhunderten solch schöne Musik erklingt. Neben den Solo-Passagen kommen auch einige Tutti-Passagen vor, welche das Orchester wie eine majestätische Orgel klingen lassen. Canterbury Chorale est une oeuvre empreinte de sérénité et de solennité. Elle s’inspire de la beauté majestueuse de la célèbre cathédrale de la ville de Canterbury, haut lieu de la culture musicale anglaise. Canterbury Chorale alterne des passages en solo et des phrases en tutti. Les sonorités sont amples et rondes. Les courbes sont fluides, légères et brillantes. Les tutti, puissants et soutenus, rappellent la richesse sonore et la générosité de l’orgue d’église. Canterbury Chorale est dédié Robert Leveugle, président du Brass Band Midden Brabant.
SKU: BR.LCE-1
ISBN 9790220118500. 9.5 x 12 inches.
Please check the respective concertos to find the orchestral parts. Symphonieorchester des Bayerischen Rundfunks Ltg. Mariss Jansons (Kompositionsauftrag des BR),,Nirai beschreibt ein imaginiertes Land ein Paradies. Zu Beginn meiner Arbeit hatte ich diese beiden Vorstellungen: von einer Fuge und von den Wurzeln auf Okinawa einer tropischen Insel im Suden Japans. Dort haben viele Baume ganz unglaubliche Formen besonders die Wurzeln haben mich fasziniert. Sie ergeben ausserst komplizierte und organische Gebilde die mich an eine Frage erinnerten. ,,Nirai heisst wortlich ,,aus den Wurzeln kommend oder ,,in Richtung der Wurzeln oder auch ,,Land der Wurzeln. Man verwendet dieses Wort um etwas zu beschreiben das aus der Vergangenheit kommt und das noch heute also in der Gegenwart sinnvoll ist. Genau wie es in Platons ,,Phaidon heisst: Alle alten Dinge kommen aus den neuen und alle neuen Dinge kommen aus den alten. Ich wollte diese Dualitat oder Interaktion zwischen zwei verschiedenen Epochen darstellen. Als Beethoven seine Symphonien schrieb benutzte er die kompositorischen Moglichkeiten die ihm zu jener Zeit zur Verfugung standen. Ich wollte das auch. Wir haben heutzutage ein riesigen Archiv an Techniken und Asthetiken auf die wir zuruckgreifen konnen. Wir konnen aus ihnen die passenden auswahlen oder sie auch kombinieren. In gewisser Weise kann man auch zu diesem Archiv ,,Nirai sagen denn es stellt das Erbe eines Volkes dar. Also wollte ich gerne eine alte Satzweise verwenden die heutzutage nicht so oft zum Einsatz kommt. Ursprunglich wollte ich das ganze Intermezzo in Fugentechnik schreiben. Aber das hat sich als zu schwierig herausgestellt. Ein Rest dieser ursprunglich geplanten Fuge ist am Anfang noch erkennbar. Die Faktur insgesamt ist eher einfach gehalten. Im Stuck ist ein stetes Accelerando angelegt fur den Horer gut wahrnehmbar obwohl mehrere Melodien gleichzeitig in unterschiedlichen Geschwindigkeiten erklingen.Was den Beethoven-Bezug betrifft so nahm ich eine kurze Phrase aus dem Schluss des letzten Satzes der Zweiten Symphonie funf kurze Wechselnoten. Daraus entwickelte ich das Stuck. Bei Beethoven steht diese Phrase in D-Dur naturlich ubernahm ich die Tonart nicht. Was mich reizte war die Tatsache dass es sich um eine kleine Sekunde handelt - das Intervall das in der zeitgenossischen Musik bevorzugt verwendet wird. Die kleine Sekunde ist sehr flexibel sie ermoglicht einem viele Formen der Verwendung. Beethoven war seinen Zeitgenossen vor allem als genialer Improvisator bekannt also nahm ich diese kleine Phrase als Thema einer Improvisation und behandelte es auf sehr freie Art. Von der Sechsten Symphonie entnahm ich keine musikalischen Zitate; stattdessen entwickle ich dieses kurze Intermezzo in ,,pastoraler Form.(Misato Mochizuki) UA der zweisatzigen Fassung: 21.10.2011 NULL World premiere version with two sets: Oct. 21 2011 NULL.
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