Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra
SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches.
Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: HL.14033079 Composed by Per Norgard. Music Sales America. ...(+)
Orchestra
SKU:
HL.14033079
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 164 pages. Music
Sales #KP01073. Published
by Music Sales
(HL.14033079).
ISBN
9788759858332.
Danish.
There were
wild oatsAnd the soil was
blackBut sparkledWhen the
sun was outThe air sharp
in the nostrilsHard to
defineSomewhere between
knife and coal andAcid
and that special light
and sweetWhiteness
thornbushes exhaleIt was
nothing specialBecause
everything was
special...Thus the
opening line of the poem
TERRAINS VAGUES by Klaus
Rifbjerg, the Danish
Poet. I chose to adopt
this title for my
orchestral work, because
of its closeness in
associations: an
indeterminable, often
polarized, state of
rhythmic and tonal
ambiguity.The expression
seems created by the
Franch author, Victor
Hugo:And here lies the
fascination: in the kinds
of terrains vagues, which
are simultaniously
bizarre and ugly, as if
created by two alien
species of nature. To
watch the suburb is like
observing and amphibium:
trees vanish, roofs
appear, grass vanish,
cobble stones appear,
ploughing fields vanish,
shops appear, beaten
tracks vanish - passions
appear; the murmur of
Nature Divine ends, the
noise of Mankind takes
over. (Victor Hugo)Still,
the atmosphere as well as
the material of TERRAINS
VAGUES have its origin,
in my SYMPHONY NO. 6
(1999), the last minute
of which, cut up rough,
appears as the start of
my new work. The music of
TERRAINS VAGUES
subdivides itself,
without breaks, into
three sections, or
shades:I: TERRAINS - II:
VAGUES (Waves) III:
TERRAINS VAGUES.Per
Norgard, March 2001.
Orchestra SKU: HL.14042987 Composed by Niels Marthinsen. Music Sales Amer...(+)
Orchestra
SKU:
HL.14042987
Composed
by Niels Marthinsen.
Music Sales America.
Classical. Softcover.
Composed 2013. Edition
Wilhelm Hansen #WH31917.
Published by Edition
Wilhelm Hansen
(HL.14042987).
ISBN
9788759829035.
The
Roads Round Pisa was
composed in 2013 by
Danish composer Niels
Marthinsen . Marthinsen
does not care
particularly for
traditional genre
divisions and his music
interweaves solid
classical instrumentation
with virtually all types
of popular music held
together by a clear sense
of line and an advanced
sense of musical form and
timing.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Orchestra (Full Score) SKU: HL.14042350 Full Score. Composed by S&...(+)
Orchestra (Full Score)
SKU: HL.14042350
Full Score.
Composed by Sø and
ren Nils Eichberg. Music
Sales America. Classical,
Contemporary. Softcover.
Composed 2013. Edition
Wilhelm Hansen #WH31627.
Published by Edition
Wilhelm Hansen
(HL.14042350).
ISBN
9788759826164.
S
øren Nils
Eichberg's
Morpheus -
Concerto for
Orchestra
(2013). Commissioned by
The Danish National
Symphony Orchestra /
DR.
Parts are
available on hire:
hire@ewh.dk
Programme
note
Morpheus in the Greek
mythology is the most
powerful of the Oneroi,
the gods of dreams. He is
the one who sends us our
dreams and he may appear
to us within the dreams
in disguise.
Analogous to the logic
of dreams, in
Morpheus
everything is interwoven,
as chains of associations
appear to logically lead
us from one line of
thought to another.
Everything seems
strangelyfamiliar. But
the logic is treacherous
and we already feel, it
may only be valid within
the dream. Nothing that
appears similar is
actually ever really the
same.
Half
awakening, we struggle to
hold on to a vanishing
world we felt we were on
the verge of
understanding, but which
we already know will
eventually escape us when
we fully awake.
Orchestra (Orchestra) SKU: BA.BA04558-01 Composed by Wolfgang Amadeus Moz...(+)
Orchestra (Orchestra)
SKU: BA.BA04558-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Christoph Hellmut Mahling
and Friedrich Schnapp.
This edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series IV, Volume
11, No. 6. Klassik
(Classical). Complete
edition, Score,
anthology. Baerenreiter
Verlag #BA04558_01.
Published by Baerenreiter
Verlag (BA.BA04558-01).
ISBN 9790006450619. 33
x 26 cm inches.
The
New Mozart Edition offers
researchers a
musicologically
unimpeachable text based
on all the available
sources (first and
foremost Mozart's
autograph manuscripts).
At the same time, it also
serves as an aid to
authentic
performances.
The
principal Series I to IX,
containing Mozart's
actual oeuvre, appeared
between 1956 and 1991.
They are regarded as a
supreme achievement of
Mozart scholarship in our
time; modern performances
of Mozart's music are
unthinkable without them.
The important
supplementary volumes
shed fresh and
illuminating light on
neglected aspects of
Mozart's creative work,
such as his activities as
a teacher or as an
arranger of other
composer's works.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: BR.SON-633 Composed by Jean Sibelius. Orchestra; Linen. Co...(+)
Orchestra
SKU:
BR.SON-633
Composed
by Jean Sibelius.
Orchestra; Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
156 pages. Breitkopf and
Haertel #SON 633.
Published by Breitkopf
and Haertel (BR.SON-633).
ISBN 9790004803684. 10
x 12.5
inches.
Symphony,
symphonic poem, fantasy,
or something else
entirely different? For a
long time while working
on the Sixth Symphony,
Sibelius was not certain
what his new orchestral
work was now about to
become or what to call
it. He had to interrupt
work on the symphony time
and again during the
Finnish civil war and
because of financial
difficulties that forced
him to earn a living with
little things. So, it is
not surprising that many
small ideas for other
works repeatedly
culminated in the Sixth.
In a letter to a friend,
he describes his early
ideas for the work: The
6th symphony is wild and
turbulent in character.
Gloomy with pastoral
contrasts. Probably in 4
movements with a
conclusion growing into a
dark orchestral shower in
which the main theme
drowns. The editor Kai
Lindberg now presents the
definitive version within
the context of the
Sibelius Complete
Edition.
Orchestra SKU: HL.14019121 For Orchestra. Composed by Magnus Lindb...(+)
Orchestra
SKU:
HL.14019121
For
Orchestra. Composed
by Magnus Lindberg. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
2003. 84 pages. Chester
Music #CH61348. Published
by Chester Music
(HL.14019121).
ISBN
9781844492954.
9.0x12.0x0.303
inches.
Commissione
d by the first Sibelius
Conductor's Competition
held in Helsinki in May
1995, as an obligatory
piece to be rehearsed by
all the competitors,
Arena was performed in
its totality at the
annual Avanti! Chamber
Orchestra's festival in
Porvoo (Finland).
Thematic thinking has
never been a main feature
in Lindberg's music, but
here horizontal lines
(one would not yet dare
to call them melodies)
gain some independence,
for example in ornamental
figures and in the
intense cello solo around
the middle of the piece.
Arena also reveals some
clearly new material -
Lindberg has talked about
Beethoven-like formal
thinking, referring to a
passage where the sense
of movement seems to
accelerate to an extreme
so that finally one
perceives only a
motionless surface.
Another new element -
which was already used to
some extent at the warmly
hovering ending of Aura -
is the almost romantic
sound world and the
suspension of the
harmonies in the final
climax, which can make
one think of Mahler and
Berg, or Lindberg's grand
predecessor and
compatriot, Sibelius.
This is the Score,
published by Chester
Music; the duration of
the pieces is
approximately 16
minutes.
Ouverture JS 145,
Baletscen JS 163.
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Linen. Complete
Works. Late-romantic;
Early modern. Complete
Works. 196 pages.
Breitkopf and Haertel
#SON 627. Published by
Breitkopf and Haertel
(BR.SON-627).
ISBN
9790004803295. 10 x 12.5
inches.
In 1998, at
the end of the 20th
century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts … are models
of scholarly editions,
and should be required
reading for all
bibliography and
music-editing courses.
… In sum, the JSW
is a remarkable project:
the scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. … For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. … JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Scenes
historiques op.25,
op.66. Composed by
Jean Sibelius. Edited by
Kari Kilpelainen. Linen.
Complete Works.
Late-romantic; Early
modern. Complete Works.
228 pages. Breitkopf and
Haertel #SON 625.
Published by Breitkopf
and Haertel (BR.SON-625).
ISBN 9790004803271. 10
x 12.5 inches.
In
1998, at the end of the
20th century, Breitkopf &
Hartel started the
publication of the
Complete Edition, which
is made possible thanks
to the cooperation of the
various Sibelius
publishers. The Editors
(Helsinki University
Library and The Sibelius
Society of Finland) and
the Editorial Committee
(Chairman: Timo Virtanen,
Helsinki) believe that
the volumes of JSW will
provide the basis for a
now conception of the
creative work of Jean
Sibelius.Reviews: One
immediately recognizes
the towering production
quality of these volumes
- a point that can be
extended to all volumes
thus far published in the
set. The music is a joy
to read; and the lucidity
and thoroughness of the
texts ... are models of
scholarly editions, and
should be required
reading for all
bibliography and
music-editing courses.
... In sum, the JSW is a
remarkable project: the
scholarship is
impeccable, the music
scores and texts are
simply a joy to study.
Edward Jurkowski, Notes
December 2011: 442-443At
the back of this
magnificent book are
pages of critical
commentary on a
bar-by-bar analysis of an
endless supply of musical
notation requiring
interpretation by the
editor. ... For the
general, non-musically
trained, purchaser of the
edition there is the
magisterial introduction
to read, and fascinating
reading it is. Edward W.
Clark, Sibelius Society
Newsletter 2009 The
Sibelius pieces, however,
are a revelation. I
opened this magnificently
produced volume -
complete with
multilingual critical
report and generous
facsimiles of original
manuscripts - expecting
Grieg-style
quasi-nationalistic
character pieces, and was
instead presented with an
incredible array of
styles, textures,
harmonic languages and
levels of difficulty.
Chris White, Piano
Professional Summer 2009:
2This is not only a
scholarly edition of one
of the composer's major
works, it is also a model
for the philological
editing of music in
general. ... JSW has
chosen to have the
emendations reflected in
two places, in certain
cases even in three: as
graphic indications in
the music text, in prose
form in the critical
commentary, and sometimes
also in the form of a
warning footnote on the
music page. There can be
no doubt that such a
procedure is very
user-friendly, but it
disturbs the appearance
of the music and may
mislead the user into
thinking that there are
two or more equally valid
readings. Niels Krabbe,
Fontes Artis Musicae
54/2, 2007: 248 Editorial
standards are high
throughout, and maintain
a careful balance between
the competing demands of
practical exigency and
the need to provide as
much scholarly evidence
of variants as possible.
The critical commentaries
provide concise and
effective descriptions of
the sources and, where
appropriate, information
on compositional genesis
and historical context.
The introduction to each
volume provide useful
background information on
historical reception,
including much new
material not previously
brought to light in
Tawaststjerna's
biography. Daniel M.
Grimley,
Nineteenth-Century Music
Review 2/2, 2005:
244.
Composed by Poul Ruders.
Music Sales America.
Classical. Set. 86 pages.
Edition Wilhelm Hansen
#WH29830. Published by
Edition Wilhelm Hansen
(HL.14027994).
ISBN
9788759864593.
New
York is the city which
fascinates and inspires
Ruders. Time and again he
goes back there to work.
'Manhattan Abstraction'
(1982) subtitles - a
symphonic skyline for
large orchestra - was
conceived there. Ruders'
Brittish colleague Oliver
Knussen defines the piece
as: - a performance of an
extraordinary
Morden-Times-like
construction. It is a
sort of symphonic
sculpture, which in the
composer's own words
words propels forth from
one particular
inspiration: the New York
profile, as seen from
Liberty Island, one icy
cold January day with
it's open, clear sky and
dazzling sun light.
'Manhatten Abstraction'
appears as an amalgam of
some of the
compositorical habits
found in present pieces.
For instance, are present
here compositorical ideas
and melodic loans from
'Capriccio Pian'e Forte',
2nd String Quartet(1979),
'Four Compositions'
(1980), and 2nd Piano
Sonata(1982). The
question at hand is
mainly concerned with the
enhanced elaboration of
Ruders' use of the
classic English
change-ringing system: a
permuting method
pre-determining the order
of tone-appearances and
/or tone groups; a serial
technique in other words.
In spite of the rigidly
fixed material, Ruders
somehow manages to chisel
out a personal expression
by way of emphasising
contrasting elements
already existing within
the material itself. The
spiky, repetitive
sections form a
counterpart to a more
human violin-solo. This
dialectical tension is -
as hinted by the title -
a symphonic abstraction
of a fascinating
metropolis; the most
beautiful and the
ugliest. The subtitle: a
symphonic skyline
reflects the musical
erection of the Manhattan
profile, which under the
clear sky, materializes
into the most powerful
and compelling man-made
sculpture on earth. Thus
'Manhattan Abstraction'
is a homage to, as well
as a vision of, this
giant contraption of
concrete, glass, and
chrome.
Orchestra SKU: HL.14028036 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra
SKU:
HL.14028036
Composed
by Poul Ruders. Music
Sales America. Classical.
Score. Composed 2002. 124
pages. Edition Wilhelm
Hansen #WH30468.
Published by Edition
Wilhelm Hansen
(HL.14028036).
ISBN
9788759810248.
12.0x16.5x0.537
inches.
This short
orchestral piece is a
tone poem based on a
passage from one of Hans
Christian Andersen's
lesser known fairytales,
THE WIND TELLS ABOUT
WALDEMAR DAAE AND HIS
DAUGHTERS, a mighty
allegory about the
transitoriness of Life,
about Vanity and Pride
and the inevitable
victory of Death (alias
the wind), whose scything
ravaging is sublimely
depicted by Andersen in
these few, truly
breathtaking lines: And
Winter rushed, Winter and
Summer they rushed, and
they rush, like I rush,
like the howling snow,
the flurrying apple
blossom, the scurrying
foliage; rush! rush! The
people too!.
Orchestra - Grade 3 SKU: AP.35996S Arranged by Matt Turner. Performance M...(+)
Orchestra - Grade 3
SKU: AP.35996S
Arranged by Matt Turner.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Folk;
Sacred; Spiritual;
Traditional. Score. 8
pages. Highland/Etling
#00-35996S. Published by
Highland/Etling
(AP.35996S).
UPC:
038081410418. English.
Traditional.
This
arrangement of the
beloved African-American
spiritual offers students
the opportunity to
experience chromaticism
within beautiful moving
lines and harmonies. A
simple hymn-like texture
at the beginning
gradually leads to an
expedition in
bi-tonality, giving this
arrangement a
contemporary but
accessible sound.
Orchestra - Grade 3 SKU: AP.29759 Arranged by Matt Turner. Performance Mu...(+)
Orchestra - Grade 3
SKU: AP.29759
Arranged by Matt Turner.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Light
Concert. Score and
Part(s). 124 pages.
Duration 3:30.
Highland/Etling
#00-29759. Published by
Highland/Etling
(AP.29759).
UPC:
038081319155.
English.
A touch of
Copland, a splash of Ives
and a pinch of jazz
harmony give this
arrangement a
contemporary but
accessible sound. This
lush arrangement of
Foster's famous lullaby
offers students the
opportunity to experience
chromaticism within
beautiful moving lines
and harmonies. A violin
solo in the middle of the
piece offers an
improvisational flavor in
Americana fashion.
(3:30).