SATB Choir, Orchestra (Study Score) SKU: HL.14026108 Composed by Zbigniew...(+)
SATB Choir, Orchestra
(Study Score)
SKU:
HL.14026108
Composed
by Zbigniew Preisner.
Music Sales America.
Post-1900. Sheet Music,
Score. With Text
language: Greek / Latin /
Polish. Chester Music
#CH61497. Published by
Chester Music
(HL.14026108).
UPC:
884088811266. 0.408
inches.
Composer's
Note Once, we had a joint
conception to create a
concert telling a life
story. The premiere was
planned to take place on
the Acropolis in Athens.
It was intended to be a
large event, a hybrid of
a mystery play and an
opera. Krzysztof
Kieslowski would be the
director, Krzysztof
Piesiewicz was
responsible for the
script, and I was
planning to compose the
music. We thought it
might be the first of a
series of musical
performances, to be
developed in various
interesting places around
the world in the next few
years. But it was life
that authored a different
ending: Krzysztof
Kieslowski died in March
of 1996. The first part
of Requiem for My Friend
is meant as a farewell to
Krzysztof Kieslowski. I
dedicate this music to
him. Zbigniew
Preisner.
A Journey with the
Shepherd. Composed by
Pepper Choplin.
Brookfield Choral Series.
Cantata, Christ The Good
Shepherd, General
Worship, Psalm, Sacred.
Softcover. Duration 2280
seconds. Published by
Brookfield Press
(HL.195818).
UPC:
888680642617.
8.5x14.0x3.0
inches.
This major
work is an affirmation of
assurance that takes us
on a musical and
spiritual pilgrimage
through the beloved 23rd
Psalm. Singers and
listeners will be carried
from peaceful meadows to
the shadowed valleys, and
from the fragile hope of
faith, to life
everlasting. A work of
scope and substance,
Psalm 23 - A Journey with
the Shepherd gives
directors a wonderful
opportunity to program
outside the seasonal box.
A glorious orchestration
by Michael Lawrence
decorates the expressive
choral writing with color
and a theatrical sweep.
Songs include: We Are Not
Alone; The Lord Is My
Shepherd; Restore My
Soul; Lead Me on the
Paths of Righteousness;
Though I Walk through the
Valley; You Comfort Me;
My Cup Overflows; We Are
Not Alone (reprise);
Surely Goodness and
Mercy. Score and Parts
(fl 1-2, ob, cl 1-2, bn,
tpt 1-3, hn 1-2, tbn 1-2,
tbn 3/tba, perc 1-2,
timp, hp, pno, vn 1-2,
va, vc, db) available as
a Printed Edition and as
a digital download.
New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432).
ISBN
9790004212790. 10 x 12.5
inches.
Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020.
Orchestra SKU: HL.14028038 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14028038
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. 95 pages. Music
Sales #KP00294. Published
by Music Sales
(HL.14028038).
ISBN
9788759854730.
12.0x16.5x0.3 inches.
English.
The word
GONG is saturated with
associations: the
splendour of the Orient,
mysticism, drama, loud
metallic clangour,
violent impact, etc. The
present piece draws upon
all those connotations,
but it is primarily a
symphonic drama about the
life and behaviour of the
sun, our closest star and
prime source of life on
Earth. Describing the sun
in music is not a new
idea, of course; during a
visit to Greece, Carl
Nielsen was inspired by
the orbit of the sun and
its very un-Danish
ferocity and thus wrote
the Helios Overture. GONG
is a Helios Overture too,
of sorts, albeit more
abstract. Recent
astronomical research
shows, that the surface
of the sun reverberates
like a gong, in four
different, simultaneous
tempi (not directly
depicted in the score,
though); the sun looks
like a GONG, - the O in
the written work looks
like the sun; there is
even a solar research
group called GONG (Global
Oscillation Network
Group). Formally the
composition follows the
life and fate of the sun,
from the initial
explotional birth through
the hyper-activity as
energy source as we know
it today to the final,
predicted flaring up and
collapse into a so-called
white dwarf. But - being
a musical composition,
not an astrophysical
thesis - GONG is brought
to its compositional
conclusion by a real
concert-ending, a chord
taken from the middle of
the piece and sustained
over several bars, from
virtual nothingness to
full force.