Full Score-The inspiration for the Sixth Symphony comes from the composer's twelve years studying in the U.S. It is his very first expressive output that is completely autobiographical. The composer described it as a memorial of my years between middle school and college in which I witnessed my own drastic characther development severe social problems lacerated friendships frantic family relationships and the overall confusion toward my own ethics. Most importantly it is a realistic portrayal of the many Chinese students studying in the West spiritually torn between the two cultures. The work is constructed as a single union without movements or breaks and lasts between 40 and45 minutes. Instrumentation: 2+1.3.3.3: 4.3.3.1: Timp.Perc(4).Pno.Hp: Str(16.14.12.10.8 min)

Description This volume contains a pair of works originally written for piano by Ravel, and later orchestrated by him. Le Tombeau De Couperin is a four-piece suite written between 1914 and 1917, dedicated to close friends who died in World War I. Valses Nobles Et Sentimentales pays homage to the work of Franz Schubert. These eight uninterrupted Waltzes abound in Schubertian characteristics. Songlist Le Tombeau De Couperin [Ravel, Maurice] Valses Nobles Et Sentimentales

Tributes - Album For Strings (1994-95) by Per Nørgård. Parts are available on hire: hire@ewh.dk I: FOUR OBSERVATIONS – FROM AN INFINTE RAPPORT – hommage a Bartok (1995) II: OUT OF THIS WORLD – hommage a Lutoslawski (1994) III: VOYAGE INTO THE BROKEN SCREEN - hommage a Sibelius (1995). Programme note “TRIBUTES – album for strings” (1994-95) includes three hommages which might also be performed separately.The shared point of departure was the hommage to three major composers of the 20th century – Bartok Lutoslawski and Sibelius.In FOUR OBSERVATIONS the hommage is to Bartok (on the occasion of the 50th anniversary of his death 1995). Hungarian Radio asked me to write a piece in his honor but apart from the very last unison string figure which is - I think - very Bartokian the work in no way intends to evoke even less to imitate the musical style of the great Hungarian master. This would be an act of impudence against a composer who was such an exceptionally integrated personality and who has himself shown (in 'Mikrokosmos') the worthy way to pay a personal tribute to highly respected colleagues: In 'Hommage á J.S.B.' and 'Hommage à R. Sch.' Bela Bartok composes in his own manner but lets the music reflect some qualities of the said composers as perceived in Bartok's mind. In a similar way my 'Observations from an infinite Rapport' reflects as well the timeless proportions of the 'golden section' - which seem to have inspired Bartok so much - in his great respect for perceptive structural patterns. 'OUT OF THIS WORLD' was composed at the request of a group of Lutoslawski's friends as a symbol of parting to a great composer and a noble man. The title quotes a poem by Yunus Emre the Turkish 14th century poet. The opening line of the poem 'Biz dünyadan' reads as follows in English translation: 'We are on the way out of this world we