SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: HL.14008808
UPC: 502067950156. 6.75x9.75x0.041 inches. English.
SA Choir and Piano arrangement by J. Michael Diack.
SKU: CA.3100313
ISBN 9790007041465. Key: A major. Language: German/English. Text: Moller, Martin. Text: Martin Moller.
For the 2nd Epiphany Sunday 1725, Bach composed the cantata O God, what glut of care and pain. It forms part of the annual cycle of chorale cantatas. In the large-scale opening movement, a choral setting full of anguish with expansive orchestral sections, the bass presents the cantus firmus in segments, reinforced by one trombone. This is followed directly by the second chorale verse in a four-part setting in which, however, each chorale line is interrupted by a short recitative (each one sung by a different voice). The bass, who closes the recitative, also sings the following continuo aria which is rich in melismatic passages. The second aria is a duet expanded into a quartet setting by the addition of oboes d'amore and continuo; it leads into the closing chorale containing a wealth of transitions. Score and part available separately - see item CA.3100300.
SKU: CA.3100312
ISBN 9790007041458. Key: A major. Language: German/English. Text: Moller, Martin. Text: Martin Moller.
SKU: CA.3100314
ISBN 9790007041472. Key: A major. Language: German/English. Text: Moller, Martin. Text: Martin Moller.
SKU: CA.3100319
ISBN 9790007135911. Key: A major. Language: German/English. Text: Moller, Martin. Text: Martin Moller.
For the 2nd Epiphany Sunday 1725, Bach composed the cantata O God, what glut of care and pain. It forms part of the annual cycle of chorale cantatas. In the large-scale opening movement, a choral setting full of anguish with expansive orchestral sections, the bass presents the cantus firmus in segments, reinforced by one trombone. This is followed directly by the second chorale verse in a four-part setting in which, however, each chorale line is interrupted by a short recitative (each one sung by a different voice). The bass, who closes the recitative, also sings the following continuo aria which is rich in melismatic passages. The second aria is a duet expanded into a quartet setting by the addition of oboes d'amore and continuo; it leads into the closing chorale containing a wealth of transitions. Score and parts available separately - see item CA.3100300.
SKU: CA.3116209
ISBN 9790007208899. Language: German/English. Scripture: Matthew 22:1-14.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score and parts available separately - see item CA.3116200.
SKU: CA.3100305
ISBN 9790007041410. Key: A major. Language: German/English. Text: Moller, Martin. Text: Martin Moller.
For the 2nd Epiphany Sunday 1725, Bach composed the cantata O God, what glut of care and pain. It forms part of the annual cycle of chorale cantatas. In the large-scale opening movement, a choral setting full of anguish with expansive orchestral sections, the bass presents the cantus firmus in segments, reinforced by one trombone. This is followed directly by the second chorale verse in a four-part setting in which, however, each chorale line is interrupted by a short recitative (each one sung by a different voice). The bass, who closes the recitative, also sings the following continuo aria which is rich in melismatic passages. The second aria is a duet expanded into a quartet setting by the addition of oboes d'amore and continuo; it leads into the closing chorale containing a wealth of transitions. Score available separately - see item CA.3100300.
SKU: TM.03380SC
Key of D = High Voice; Key of C = Low Voice. Please specify key when ordering.
SKU: TM.03380SET
SKU: CA.3914000
ISBN 9790007171339. Text language: German.
Great Baroque church music full of color and powerful imagery! Sing to the Lord a new song! Sing, rejoice and praise his holy name with the trumpets and cornetts! And nature shall join in, the seas shall rage, and the whole world and the rushing waters rejoice. This is such an ideal text for Telemann: The voices rejoice and praise together with the horns, harp, and trombones; and the choir and instruments make the sea roar, the earthquake tremble and the rivers and mountains exult.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.Armanâ??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃ?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.2100305
ISBN 9790007100797. Language: Latin.
Marc-Antoine Charpentier's Magnificat H 78 was composed around 1690 for the Jesuits in Paris. No less than ten works by the composer, in differing vocal and instrumental scoring and form comprise this genre. In the present Magnificat H 78 for five voices (in which alto and bass also have solo roles), two flutes, strings and basso continuo, each of the individual movements contains its own expressive profile in sound. Score available separately - see item CA.2100300.
SKU: CA.1029519
ISBN 9790007139575. Language: German.
From Bach's music library; formerly attributed to Bach. The present edition is based on the score partly made by Bach himself, held by the Deutsche Staatsbibliothek Berlin. The chorales, originally noted only for voices and Basso continuo, have been instrumentated according to contemporary practice of that time. Score and parts available separately - see item CA.1029500.
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