SKU: FG.55011-484-5
ISBN 9790550114845.
In January 1999, Nieminen worked with his oboe piece Elegy for Agatha. The work kept running through his mind. Its musically intimate and intriguing setting seemed to include sufficient elements for explicating a bigger whole. The poem by Hannele Huovi was the inspiration of the sequel: Kuulen virtaavaa valoa ja se on pimeys (I can here streaming light and it is darkness). In his work, Nieminen also looks back on his days in military service. The mental pictures created decades ago on guard during winter frost amid silence combined with Huovi's poem took a musical shape. I Hear Streaming Light (1999) for the String Quartet was created out of these ideas, which together with Elegy for Agatha constitute a whole called I Can Hear Northern Lights. All musical material and melodic themes of the string quartet piece originate from Elegy for Agatha but they do not appear in their original forms.
SKU: BR.MR-1090
ISBN 9790004480458. 9 x 12 inches.
These two Canzoni are the first two works in a collection of 36 Canzoni published by Alessandro Rauerij in Venice in 1608.
SKU: HL.14042754
ISBN 9780711965447.
A series of popular music for working string quartets. Light enjoyable repertoire pieces and entertaining encores. Each folio contains five pieces. Contents: 'Bridge Over Troubled Water', 'Candle In The Wind', '(Everything I Do) IDo It For You', 'Killing Me Softly With His Song', 'Without You'.
SKU: HL.14041525
ISBN 9788759871829. UPC: 196288071020. 9.5x14.25x0.167 inches. Danish-English.
Programme Note During the composition of my tenth string quartet a flower-name, host-tidlos, came to my mind - and it would not me leave again. [hosttidlos is actually autumn crocus in English, but the composer prefers harvest-timeless, to maintain some of the associations of the Danish flower-name, red.] The paradoxical union of a seasonal time (harvest) and no-time-at-all was a good fit to the sections of the work that I had composed at that time, and I decided to tentatively stick to that title for the work-in-progress, and now, having finished the piece, I can say that is is still a fitting title - and it stands. Enough about the title, I will go on to describe themusic, a somewhat more precarious project. My tenth string quartet is probably the most basic string quartet that I have composed: melodically - and in sound - it employs the naturally based overtones and undertones (perceived at major and minor, respectively), and rhythmically it is based on growth, on the principles of the Golden Section, and the structure itself contrasts abundance and exuberance with sections of immobility and contemplation. However, Melos, melody, is definitely the dominating aspect of my STRING QUARTET NO. 10: behind even the most rhythmically complex or pure sonoric sections lies a firm - if hidden - basis of melodic or polyphonic ideas. The work was composed in 2004-2005 for the Kroger Quartet.
SKU: HL.14041524
ISBN 9788759871812. Danish-English.
SKU: HL.14030980
ISBN 9788759871973. 12.0x16.0x0.285 inches.
Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.
SKU: HL.51487121
UPC: 840126946178. 6.75x9.5x0.299 inches.
After Volumes IV and III of the series with Mozart's complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively, Mozart expert Wolf-Dieter Seiffert now presents Volume II. Included are the “Early Viennese Quartets†from 1773, K. 168-173. Entries in the autograph manuscript by the composer's father Leopold, however, suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface, Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover, he succeeds in correcting what in prior editions were occasional inaccuracies in dynamics and articulation, thereby producing a new, assured musical text. With artistic input from the Armida Quartet, Volume II of the String Quartets also sets the benchmark in the Mozart Edition! Contents: String Quartet in F Major, K. 168 String Quartet in A Major, K. 169 String Quartet in C Major, K. 170 String Quartet in E-flat Major, K. 171 String Quartet in B-flat Major, K. 172 String Quartet in D minor, K. 173.
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