Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass

Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.

The 28 chorales in this collection are suitable for concert band/wind ensemble as well as woodwind/brass choir saxophone quartet trombone quartet or mixed woodwind/brass groups. They are well-suited for use as warm-ups forstudy of precise intonation and ensemble and for concert performance. Helpful instructions to the director are included for varying dynamics through instrumentation and balance and the enhanced index includes the key and meterof each chorale. Also included are three concert selections: Chorale Prelude on “I Call to Thee Lord Jesus Christ”; Final Chorus from St. Matthew Passion; Chorale Prelude on “We All Believe in One God(Giant Fugue)”

Condensed Score-The 28 chorales in this collection are suitable for concert band/wind ensemble as well as woodwind/brass choir saxophone quartet trombone quartet or mixed woodwind/brass groups. They are well-suited for use as warm-ups forstudy of precise intonation and ensemble and for concert performance. Helpful instructions to the director are included for varying dynamics through instrumentation and balance and the enhanced index includes the key and meterof each chorale. Also included are three concert selections: Chorale Prelude on “I Call to Thee Lord Jesus Christ”; Final Chorus from St. Matthew Passion; Chorale Prelude on “We All Believe in One God(Giant Fugue)”

The 28 chorales in this collection are suitable for concert band/wind ensemble as well as woodwind/brass choir saxophone quartet trombone quartet or mixed woodwind/brass groups. They are well-suited for use as warm-ups forstudy of precise intonation and ensemble and for concert performance. Helpful instructions to the director are included for varying dynamics through instrumentation and balance and the enhanced index includes the key and meterof each chorale. Also included are three concert selections: Chorale Prelude on “I Call to Thee Lord Jesus Christ”; Final Chorus from St. Matthew Passion; Chorale Prelude on “We All Believe in One God(Giant Fugue)”

‘Circus Delight’ is a five-part suite which is set how could it be otherwise in a big circus tent. The suite starts with a part called ‘Entrance’. The orchestra positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run jump and fly through the ring until ....... It gets very exciting. Fortunately all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows and yet it is mostly not spoken about that when a clown has taken off his red nose and rubbed off his make-up his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’ in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.

‘Circus Delight’ is a five-part suite which is set how could it be otherwise in a big circus tent. The suite starts with a part called ‘Entrance’. The orchestra positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run jump and fly through the ring until ....... It gets very exciting. Fortunately all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows and yet it is mostly not spoken about that when a clown has taken off his red nose and rubbed off his make-up his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’ in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.

These three short ‘pictures’ were inspired by several visits to a small part of the American East Coast an area which provides great extremes in the geography and the people.'Shelter Island' is a small island situated almost at the end of Long Island a few hours drive east of New York. In the summer it becomes a crowded tourist trap but in the winter it is gloriously deserted and bravely faces the onslaught of the turbulent Atlantic shrouded in sea mists and driving rain. In upstate New York lie 'The Catskills' Mountains an extraordinary combination of tranquillity and power peace and majesty. Once seen they call you back again and again.New York - or to be more precise Manhattan. For anyone who is familiar with this bizarre and wonderful city this ‘picture’ needs no explanation. For those not yet hooked here is a small foretaste of things to come!

Call of the Clans (?L?appel des clans?) est un voyage musical à travers les Highlands (Hautes-Terres) d?Écosse une région de montagnes aux contours déchiquetés de collines verdoyantes de lacs aux eaux cristallines de châteaux en ruines et de villages pittoresques jadis organisés en clans. Chaque clan peut s?enorgueillir de posséder un patrimoine riche en traditions conquis et défendu par le fer et par le feu. C?est ainsi que les superbes Highlands devinrent le théâtre de nombreuses guerres et luttes entre clans.Call of the Clans de Kevin Houben est une confrontation musicale dans un style authentiquement écossais. Accompagnés d?une mélodie entraînante lesclans se préparent à défendre leurs traditions sous un ciel menaçant. Si les nuages gâchent un peu le début des festivités on voit progressivement apparaître quelques timides rayons de soleil qui réchauffent la terre ; les festivités reprennent. Chaque clan présente ses meilleurs danseurs et la compétition se termine avec un grand finale.

Call of the Clans (?L?appel des clans?) est un voyage musical à travers les Highlands (Hautes-Terres) d?Écosse une région de montagnes aux contours déchiquetés de collines verdoyantes de lacs aux eaux cristallines de châteaux en ruines et de villages pittoresques jadis organisés en clans. Chaque clan peut s?enorgueillir de posséder un patrimoine riche en traditions conquis et défendu par le fer et par le feu. C?est ainsi que les superbes Highlands devinrent le théâtre de nombreuses guerres et luttes entre clans.Call of the Clans de Kevin Houben est une confrontation musicale dans un style authentiquement écossais. Accompagnés d?une mélodie entraînante lesclans se préparent à défendre leurs traditions sous un ciel menaçant. Si les nuages gâchent un peu le début des festivités on voit progressivement apparaître quelques timides rayons de soleil qui réchauffent la terre ; les festivités reprennent. Chaque clan présente ses meilleurs danseurs et la compétition se termine avec un grand finale.

Par RAMEAU JEAN-PHILIPPE. Richer than ever – Rameau’s “Zoroastre” in the version of 1756. Opera in five acts. Rameau’s revised version of his opera “Zoroastre”, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today’s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau’s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime „Hymne à la Lumière“, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with “Zoroastre” the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck’s opera reform by many years. Here we present the instrumental numbers for concert performance. - Based on the first scholarly-critical edition, published as part of “Opera Omnia Rameau” - Instrumental numbers in order of performance, but also grouped by key in the list of contents, enabling them to be combined freely into orchestral suites - Published with performance material on hire / Date parution : 2022-11-08/ Répertoire / Orchestre

Five years after the release of the monster album Thriller which sold a record-breaking 105 million copies worldwide up to this date this second single from the album Bad released in 1987 also peaked at number one on the Billboard chart. This song was performed during Michael???s first solo world tour that started from Japan (Korakuen Stadium) in September 1987. The short film directed by Martin Scorsese also generated great publicity. In particular the animated group dance scene in the subway made a huge impact on the viewers and distinguished Michael???s image. As the video depicts ???bad??? in this song???s lyrics indicate the kicking cool unruly living on thestreets. As the opening number Bad strikes out a course of slight-but-right edginess with its dynamically groovy arrangement that underscores the electric funk in the original tune. Don???t miss the last punch line: Who???s bad'

Here are all your favorite Nutcracker themes rolled into a clever and lighthearted medley. For added excitement appoint an official time keeper and use a big hourglass-type egg timer or a projected digital stopwatch so theaudience can track your progress as the band frantically races to finish under 3 minutes. (An accelerando is built-in at the end in case you need to make up time!)

Richard takes the listener and performer on an extended journey through various mood styles in this impressive work for mature ensembles. The stately opening strains gather momentum and intensity leading to a fast-paced sectionthat featuresintertwining solo and small group fragments passed throughout the texture. An overall soaring theme adds a tone of triumph and grandeur throughout and the final push to the end is both exhilarating and rhythmicallydynamic. Dur: 6:50

Call of the Clans ('L'appel des clans') est un voyage musical à travers les Highlands (Hautes-Terres) d'Écosse une région de montagnes aux contours déchiquetés de collines verdoyantes de lacs aux eauxcristallines de châteaux en ruines et de villages pittoresques jadis organisés en clans. Chaque clan peut s'enorgueillir de posséder un patrimoine riche en traditions conquis et défendu par le fer et par le feu. C'est ainsi que lessuperbes Highlands devinrent le théâtre de nombreuses guerres et luttes entre clans.Call of the Clans de Kevin Houben est une confrontation musicale dans un style authentiquement écossais. Accompagnés d'une mélodie entraînante les clans se préparent à défendre leurs traditions sous un ciel menaçant. Si les nuagesgâchent un peu le début des festivités on voit progressivement apparaître quelques timides rayons de soleil qui réchauffent la terre les festivités reprennent. Chaque clan présente ses meilleurs danseurs et la compétition se termine avec un grandfinale.