By Kenneth Hesketh. Concert Band. For Wind Band. Part(s); Score; Wind Band. Fabe...(+)
By Kenneth Hesketh.
Concert Band. For Wind
Band. Part(s); Score;
Wind Band. Faber Edition:
Faber Wind Band Series.
20th Century; Masterwork.
Published by Faber Music
Organ, Soprano, Organ Accompaniment, Ensemble, SATB SKU: HL.14035061 Comp...(+)
Organ, Soprano, Organ
Accompaniment, Ensemble,
SATB
SKU:
HL.14035061
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 74 pages. Music
Sales #KP00036. Published
by Music Sales
(HL.14035061).
ISBN
9788759862353.
English-Danish.
Win
ter Cantata /
Vinterkantate (1976) by
Per Norgard for a
variable ensemble of
soloist, mixed choir and
instruments (minimum:
vocalist and organ).
Programme Note: When in
1975 I had finished
composing my 3rd Symphony
(begun in 1973), I wrote
three simple melodies for
two psalm texts by Ole
Sarvig: The Year and
Choral Hymn. These three
tunes were derived from
the same material as the
second movement of the
3rd Symphony and could be
harmonized together in
several different tempo
relationships at the same
time - like fractals -
which inspired me to
write several choral and
instrumental works in the
following decade based on
these melodies: Frost
Psalm, Winter Cantata,
Winter Hymn, Cantica and
others. One of these
'Sarvig melodies' is now
included in the new
Danish Hymnbook, under
the title Aret(The Year).
Ole Sarvig's poem Aret
(The Year) is Danish,
perhaps Scandinavian in
character, but its
symbolic atmosphere is
global (now snow is
covering the whole
earth). The basic
composition of this
cantata - based on
Sarvig's many verses -
was done by letting
soloist, choir and
instruments change in
feelings and moods: from
the almost silent,
inward-looking beginning
(I: Chorale dolorosa) to
a dancelike and happy
optimism (II: A heaven
germ on winged foot
thrust deep into the
earth its root), followed
by nightmarish tone rows
as the year-wheel of
fortune is turning (III:
Sacrifice - The Year) and
the temptations of the
snake (IV: In Paradiso) -
to the allegorical fights
between egoism and
altruism (V:The Cycle -
Autumn. Purgatory) before
the waiting for a
disaster- atmosphere at
the end of this choral
Odysse. Winter Cantata
was from the beginning
(1976) designed as an
open work, to be arranged
by different combinations
of soloists, choir and
(different) instruments.
The printed version by
Per Norgard and Ivan
hansen for soloist, mixed
choir and instruments
(obo, violin, trombone,
vibraphone/percussion and
organ) is from 1990. The
work is available in both
the (original) Danish
version (Vinterkantate)
and an English version
(Winter Cantata),
translated by Helen and
Ole Sarvig. (Per
Norgard).
Tripartita Violon, Clarinette, Piano (trio) Subito Music
Clarinet, Violin & Piano SKU: SU.46200090 For Clarinet, Violin & Piano...(+)
Clarinet, Violin & Piano
SKU: SU.46200090
For Clarinet, Violin &
Piano. Composed by
William Averitt. Chamber
Music, Piano Trio. Score
& Parts. Subito Music
Corporation #46200090.
Published by Subito Music
Corporation
(SU.46200090).
Clarinet,
Violin & Piano Duration:
22' Composed: 1988
Published by: Verdehr
Trio Tripartita is a
title invented for this
score, a piece in three
movements for three
players. The first
movement Elaborations is
a sonata-like structure
whose ideas evolve out of
the harmonic succession
heard as the background
material of the opening
passage. The second and
third movements are based
on essentially the same
scalar and harmonic
materials as the first;
however, they are
somewhat different in
their moods and
expression, in part
because they both
incorporate elements
derived from popular
music idioms of the early
part of the twentieth
century. The form of the
second movement,
Dances,is related to the
nineteenth century
scherzo with two trios;
here, the scherzo
sections are fast and
jazzy,while the more
relaxed digressions are,
respectively, a
ragtime-waltz and a
tango. The third movement
Blues with Variations
follows without pause,
and furthermore is linked
structurally to the
previous movements, since
the chord sequence for
the blues (and subsequent
variations) is the same
one employed from the
very opening of the work.
—William
Averitt.
