SKU: HL.50577579

SKU: LM.EG08522

SKU: HL.49044532

ISBN 9790001176071. UPC: 888680080570. 9.0x12.0x0.24 inches.

I wrote the first movement of my Sommersonate in the summer of 2010, and though a self-contained work, it called out for continuation or a companion piece. I imagine the first movement, marked moderato, to be bright, free, weightless, transparent, flooded in sunlight. In contrast, the newly composed second movement is nocturnal and cryptic, with a restrained glow. A Romance, a (summer) night piece. Jorg Widmann.

SKU: FG.55011-723-5

ISBN 9790550117235.

Robert Kajanus (1856-1933) was a highly influential Finnish conductor and composer. He studied in Helsinki and Germany, established the Helsinki Orchestra Society (later Helsinki Philharmonic) and its orchestra school, and was the orchestra's chief conductor for over 50 years. Kajanus is often regarded only as a conductor, but he was indeed a skilled composer whose music is largely unknown. This Urtext volume, edited by Sebastian Silen, contains all of Kajanus's works for violin -- his own instrument. Contents: Nocturne, Menuet ancien, Spiccato, Ronde courante, Air elegiaque, Berceuse (Huutolaistyton kehtolaulu).

SKU: BR.EB-9413

ISBN 9790004188873. 9 x 12 inches.

For a long time after Romanticism had come to the fore, it was generally agreed that Brahms somehow did not get it: History and Progress - it was thought - were proceeding along one clear path and Brahms - who was composing sonatas and symphonies instead of nocturnes and symphonic poems - had taken the wrong way. Almost one century later, Schonberg wrote an essay, Brahms, der Fortschrittliche (Brahms, the progressive), in which he explained that it wasn't like that at all.Fully assuming the risk to appear somehow irreverent, I have to confess: Over the years, I came to the conclusion that the present - and the future - can be created only by loving the past. As Brahms had shown us, it is only by accepting the challenge of taking our heritage into our own hands, that we can create something new. We cannot avoid engaging with the past. Therefore, starting with my Sinfonia n. 1, I began to flirt with such a strong and effective musical structure like the sonata form. I re-read and freely transformed it, because it is a sturdy and resilient structure, but also a theatrical and colorful one. For me, it is a happy structure. And I think that today more than ever we need something like this: We need to find places - even imaginary ones - where we can give happiness a form of its own.Nicola Campogrande, December 2020

World premiere: Bologna/Italy, Streaming, April 11, 2021Commissioned by the Fondazione Musica Insieme.