SKU: PR.11441304S
UPC: 680160620357. 8.5 x 11 inches.
The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.). Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves? They are in highly exaggerated forms and postures, in large and sweeping movements -- the innocent and bold images symbolize the strength, motion, and speed. It's the beauty of the crude and primitive power of humanity in its conquest of the material world. --Chen Yi.The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.).  Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves?  They are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed.  It’s the beauty of the crude and primitive power of humanity in its conquest of the material world.—Chen Yi.
SKU: PR.114413040
UPC: 680160571628. 8.5 x 11 inches.
Commissioned by the Opus 21 ensemble, this mixed sextet is a musical realization of Chinese clay figurines of the Eastern Han (25-220 A.D.). Shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed, as the beauty of the crude and primitive power of humanity in its conquest of the material world.The mixed sextet The Han Figurines is a musical realization of my impression of the Chinese clay figurines of the Eastern Han (25-220 A.D.).  Have you seen the shapes of the enraptured storyteller, the vivid acrobat, and the moving dancers with long sleeves?  They are in highly exaggerated forms and postures, in large and sweeping movements — the innocent and bold images symbolize the strength, motion, and speed.  It’s the beauty of the crude and primitive power of humanity in its conquest of the material world.—Chen Yi.
SKU: ST.Y237
ISBN 9790220221835.
1st perf: Darragh Morgan, The Picture Gallery, Royal Holloway College, University of London, 15 November 2006 Programme Note Lucky's Speech was composed at the request of the violinist Darragh Morgan, for the launch of his recital CD Opera on the NMC label in June 2006. The title refers to a pivotal moment in Samuel Beckett's play Waiting for Godot, when the hitherto silent character Lucky suddenly pours forth a torrential stream of gibberish. This idea also suggested the cadenza of my Violin Concerto, composed in the same year, and it is reflected in both cases by an almost breathless musical activity punctuated by pizzicato commentaries. I should like to thank Darragh Morgan for his invaluable advice in the preparation of the score.
(c) Copyright Morgan Hayes
SKU: HL.50600840
8.25x11.75x0.097 inches.
The work was composed for the Haydn Chamber Ensemble commissioned by the Haydnfestspiele Eisenstadt (Kammermusikzyklus 2015). Supported by the Österreichisches Bundesministerium für Unterricht, Kunst und Kultur. Gerald Resch comments on “Sostenuto†as follows: “The Haydn Chamber Ensemble approached me with their request for a piano trio referring to the 'romantic' aspect of Joseph Haydn. His D-major Piano Trio, Hob.XV/24 is a wonderful example of how Haydn opened a door onto a new era during the last decade of his productivity. The initial impulse for 'Sostenuto' was my confrontation with Haydn's D-major Piano Trio.â€.
SKU: HL.50487759
ISBN 9790080140994. A/4 inches. Hungarian, English. Laszlo Tihanyi.
The piece was composed at the request of violinist Eszter Perenyi, my colleague at the Ferenc Liszt Academy of Music, and was several times amond the optional pieces of the yearly violin competition for students. It was inspired by the famous 63rd poem of Catullus that tells the story of Attis: the hero of the Greek mythology arrives at the Mount Ida in Frygia, to the invitation of the goddess Cybele, and becomes her lover. The Gallas, certitude priests of Cybele chase him into delirious dance, by the end of which he castrates himself. On waking from his paralysed dream he entreats in vain for his virility and freedom to Cybele, he will remain servant of the goddess for eternity. My work tells the story in four parts: 1) Attis' ecstasy 2) Dance of the Gallas 3) Attis' dream 4) Attis' entreaty. The Catullian galliambic metric that first appears in the 'prologue' of the piece, becomes the organisational principle of almost all musical aspects of it. (Hungaroton HCD 32484).
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