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| John Luther Adams: Become
Ocean: Orchestra: Score
Orchestre
Chester
Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become O...(+)
Full Score-John Luther Adams' Become Ocean for Orchestra (Full score) 'Become OceanOver the years my orchestral music has become simpler and more expansive. Clouds of Forgetting Clouds of Unknowing (1991-95) contains four different musical textures. In the WhiteSilence (1998) has three. For Lou Harrison (2002) reduces this to just two. In Dark Waves (2007) I finally got to one. When Ifirst heard that piece I began to wonder if I could sustain asimilar sound for a longer span of time. The result is Become Ocean a meditation on the vast deep and mysterious tides of existence.Thetitle is borrowed from a mesostic verse that John Cage wrote in honor of Lou Harrison's birthday. Likening Harrison's music to a river in delta Cage writes: LiStening to it we becOme oceaN. Lifeon this earth first emerged from the sea. And as the polar ice melts and sea level rises we humans find ourselves facing the prospect that once again we may quite literally become ocean.' – John Luther Adams
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| Kongen Af Himmelby -
Demo: Orchestra: Score
Orchestre [Partition]
Wilhelm Hansen
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopia...(+)
Kongen Af Himmeby-Demo/Utopiaville-Demofor Symphony Orchestra (2009). The Utopiaville-Demo is commissioned by Finn Schumacker for The Odense Symphony Orchestra. Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied up in a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focus is on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to me to start making orchestral excerpts from my operas that are meant to be played before the premiere (and after please); I call them 'operatrailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and more appetizer-ish. The Utopiaville-Demo is a fast-and-furious cinemascope 3D THX-demo for my chamber opera 'The King ofUtopiaville' which is sort of a mix between a reversed revolutionary opera (reversed because it's about a revolutionthat flops) and a rhythm'n blues theatre concert. The opera takes place on the remote tropical island of Honga-Tonga where a mayor form Europe is taking a much needed holiday as far away as possible from his home town Utopiaville. The mayor desperately needs to get away:He has overstepped his authority blatantly and broken every rule of law he felt like in order to create a modern liberalistic society where sanitation medicare hospitals schools the police and all other public institutions are sold to private investors and then leased back by the public - that way noone will ever have to pay taxes because everything finances itself the mayor says and in order to keep reality at a safe distance he drinks massive amounts of insanely expensive french claret all in the best interest of the inhabitants of Utopiaville of course.Honga Tonga can't get any further away from Waikiki Beach: It looks something like the 1933 version of
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| Snehvides Spejl -
Operatrailer: Orchestra:
Score
Orchestre [Partition]
Wilhelm Hansen
Composer's Program Note Repertoire operas occationally have orchestral suites: B...(+)
Composer's Program Note Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied upin a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focusis on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to meto start making orchestral excerpts from my operas that are meant to be played before the premiere (andafter please); I call them 'opera trailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and moreappetizer-ish. SNOW WHITE'S MIRROR is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself either because she kills them or because they decide they can't stand being around her anymore. But apparently she's o.k. with that...The music is intended for a large audience: it's basically pop music done with all the craftmanship of aclassical composer who's equally at home with large scale symphonic form avantgarde technique opera singing - and modern pop. The Trailer is in three movements. It contains three sections of the opera; the prelude an interlude close to the beginning of the second act and the final scene but one. It's a gloomy sort of trailer starting out in grand title sequence style moving on to a decidedly odd piece where Snow White find her way to the dwarfs (who're creepy junkies doing pornography to get money to buy dope) and ending in kind of an eerie rejection mood: Everyone still alive walks out on Snow White singing 'skin as white as snow hands red with blood soul as black as ivory'.(NM 2010)
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| Hans Abrahamsen:
Stratifications:
Orchestra: Score
Orchestre [Partition]
Wilhelm Hansen
Stratifications was composed by Hans Abrahamsen in 1973-75 and was premiered in ...(+)
Stratifications was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts; at the same time the polyphony the presence of several simultaneously sounding layers is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and othermaterial which give a peculiar ?set piece-like? effect in the sound picture. The ?new simplicity? details are here woven together in a new kind of complex whole. ?Stratifications? begins with a series of concretistic masklike ?pictures of the music?. It is like seeing lantern slides. But this ?fictive? form crackles and the music gets attentive and real. The music is in a night-mare condition where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising ?in triumph?.
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| Poul Ruders:
Wind-Drumming: Orchestra:
Score
Orchestre
Wilhelm Hansen
Poul Ruder's Wind-Drumming for Wind Quintet and 4 Percussionists (1979/85). Part...(+)
Poul Ruder's Wind-Drumming for Wind Quintet and 4 Percussionists (1979/85). Parts are for hire: hire@ewh.dk Programme NoteWind-Drumming was written in 1979 on a commission from The Danish Percussion Ensemble.The piece is a clash of two kinds of sound-associations; the mystic exotic impact of Latin-American drumming and the more well dressed reputation of Western concert-instruments in this case a wind-quintet (w. electric flute).The two instrumental camps either melt into one soft humming ritual or are split wide apart the winds tearing their way through the undergrowth ofrainforest-drumming. There is more than one way of getting on to WIND-DRUMMING: obviously it is about the confrontation of two incongruent ways of living a lament on the damage done to the tropical rainforests of the world by modern civilisation. One can hear it plainly as a direct rhythm-show a downright number or a joyous homage to the most exiting kind of folkloristic music at all: the carnal spell of the Brazilian Samba. Poul Ruders
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