Eulenburg Audio Score Series. By Edvard Grieg. This edition: EAS139. Eulenburg A...(+)
Eulenburg Audio Score
Series. By Edvard Grieg.
This edition: EAS139.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 92
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Ludwig van Beethoven. This edition: EAS130. Eul...(+)
Eulenburg Audio Score
Series. By Ludwig van
Beethoven. This edition:
EAS130. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
124 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Wolfgang Amadeus Mozart. This edition: EAS149. ...(+)
Eulenburg Audio Score
Series. By Wolfgang
Amadeus Mozart. This
edition: EAS149.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 108
pages. Published by
Eulenburg.
(Eulenburg Audio Score 73). By Antonin Dvorák and Antonin Dvor. Eulenberg Aud...(+)
(Eulenburg Audio Score
73). By Antonin Dvorák
and Antonin Dvor.
Eulenberg Audio plus
Score. Softcover with CD.
80 pages. Eulenburg
(Schott Music) #EAS173.
Published by Eulenburg
(Schott Music)
Eulenburg Audio Score Series. By Johannes Brahms. This edition: EAS119. Eulenbur...(+)
Eulenburg Audio Score
Series. By Johannes
Brahms. This edition:
EAS119. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
106 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Johann Sebastian Bach. This edition: EAS114. Eu...(+)
Eulenburg Audio Score
Series. By Johann
Sebastian Bach. This
edition: EAS114.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 116
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Ludwig van Beethoven. This edition: EAS115. Eul...(+)
Eulenburg Audio Score
Series. By Ludwig van
Beethoven. This edition:
EAS115. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
142 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Antonio Vivaldi. This edition: EAS138. Eulenbur...(+)
Eulenburg Audio Score
Series. By Antonio
Vivaldi. This edition:
EAS138. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
104 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By George Frideric Handel. This edition: EAS124. E...(+)
Eulenburg Audio Score
Series. By George
Frideric Handel. This
edition: EAS124.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 134
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Franz Schubert. This edition: EAS146. Eulenburg...(+)
Eulenburg Audio Score
Series. By Franz
Schubert. This edition:
EAS146. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
269 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Franz Schubert. This edition: EAS129. Eulenburg...(+)
Eulenburg Audio Score
Series. By Franz
Schubert. This edition:
EAS129. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
122 pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Peter Ilyich Tchaikovsky. This edition: EAS137....(+)
Eulenburg Audio Score
Series. By Peter Ilyich
Tchaikovsky. This
edition: EAS137.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 238
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Johann Sebastian Bach. This edition: EAS102. Eu...(+)
Eulenburg Audio Score
Series. By Johann
Sebastian Bach. This
edition: EAS102.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 124
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Felix Mendelssohn. This edition: EAS122. Eulenb...(+)
Eulenburg Audio Score
Series. By Felix
Mendelssohn. This
edition: EAS122.
Eulenburg Audio Score
(Pocket Scores CD).
Study score and CD. 114
pages. Published by
Eulenburg.
Eulenburg Audio Score Series. By Antonin Dvorak. This edition: EAS107. Eulenburg...(+)
Eulenburg Audio Score
Series. By Antonin
Dvorak. This edition:
EAS107. Eulenburg Audio
Score (Pocket Scores
CD). Study score and CD.
132 pages. Published by
Eulenburg.
Orchestra - Grade 2 SKU: AP.49453S Composed by Jordan Schmidt, Kane Brown...(+)
Orchestra - Grade 2
SKU: AP.49453S
Composed by Jordan
Schmidt, Kane Brown, Matt
McGinn, and Taylor
Phillips. Arranged by
Douglas E. Wagner.
Performance Music
Ensemble; Single Titles;
String Orchestra. Pop
Intermediate String
Orchestra. Country; Pop;
Pop/Rock; Radio. Score.
Duration 1:50. Alfred
Music #00-49453S.
Published by Alfred Music
(AP.49453S).
ISBN
9781470660802. UPC:
038081577593.
English.
Country
music singer and
songwriter Kane Brown's
music has soared to the
top of the charts within
a few short years,
winning the American
Music Awards category
Favorite Country Male
Artist twice (2018 and
2019), along with Video
of the Year in 2021. Like
I Love Country Music,
arranged by Douglas E.
Wagner, is from the
artist's third studio
album Different Man,
released in 2022, and is
full of all the American
country music feels. So
much fun to play!
(1:50).
Orchestra - Grade 2 SKU: AP.49453 Composed by Jordan Schmidt, Kane Brown,...(+)
Orchestra - Grade 2
SKU: AP.49453
Composed by Jordan
Schmidt, Kane Brown, Matt
McGinn, and Taylor
Phillips. Arranged by
Douglas E. Wagner.
MakeMusic Cloud;
Performance Music
Ensemble; String
Orchestra. Pop
Intermediate String
Orchestra. Country; Pop;
Pop/Rock; Radio. Score
and Part(s). Duration
1:50. Alfred Music
#00-49453. Published by
Alfred Music (AP.49453).
ISBN 9781470660796.
UPC: 038081577586.
English.
Country
music singer and
songwriter Kane Brown's
music has soared to the
top of the charts within
a few short years,
winning the American
Music Awards category
Favorite Country Male
Artist twice (2018 and
2019), along with Video
of the Year in 2021. Like
I Love Country Music,
arranged by Douglas E.
Wagner, is from the
artist's third studio
album Different Man,
released in 2022, and is
full of all the American
country music feels. So
much fun to play!
(1:50).
(A Practical Application of Rudolf von Laban's Movement Language). By James Jord...(+)
(A Practical Application
of Rudolf von Laban's
Movement Language). By
James Jordan with Meade
Andrews and Giselle
Wyers. Book and DVD. 362
pages. Published by GIA
Publications
Toccata Orchestre - Intermédiaire Alfred Publishing
By Girolamo Frescobaldi. Transcr. Hans Kinder. For Full Orchestra. Full Orchestr...(+)
By Girolamo Frescobaldi.
Transcr. Hans Kinder. For
Full Orchestra. Full
Orchestra. Concert Full
Orchestra. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 150
pages. Duration 6:21.
Published by Alfred
Publishing.
Orchestra (Study Score) SKU: HL.49046016 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.49046016
Study Score.
Composed by Fazil Say.
This edition: Saddle
stitching. Sheet music.
Study Score. 20Th
Century, Classical.
Softcover. Composed
2008-2009. Op. 28. 144
pages. Duration 2700
seconds. Schott Music
#ED22705. Published by
Schott Music
(HL.49046016).
ISBN
9790001164535. UPC:
841886031326.
8.0x11.75x0.414
inches.
Two of the
European Cultural
Capitals in 2010 -
Istanbul and the Ruhr
area - are united in the
personality of the
composer and pianist
Fazil Say. He lives in
Istanbul and has for
several years also been
exclusive artist at the
Konzerthaus Dortmund, the
largest city in the Ruhr
area. This cooperation
will culminate in the
highlight of a concert,
the World Premiere of
Says Istanbul Symphony in
which the composer has
created a portrait of the
city in seven movements
capturing everyday
situations and the
atmosphere, history and
people of this great
metropolis. For large
orchestra & Turkish
instruments.
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.263038 For Orchestra. Composed by J...(+)
Orchestra (FULL SCORE)
SKU: HL.263038
For Orchestra.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
162 pages. Chester Music
#CH87131. Published by
Chester Music
(HL.263038).
UPC:
888680952907.
12.0x16.5x0.565
inches.
“Over
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 White
Silence (1998) has three.
For Lou Harrison (2002)
reduces this to just two.
In Dark Waves (2007), I
finally got to one. When
I first heard that piece
I began to wonder if I
could sustain a similar
sound for a longer span
of time. The result is
Become Ocean, a
meditation on the vast,
deep and mysterious tides
of existence. The title
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. Life on
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.
Choir Sacred Children's
choir, SATB choir, and
Orchestra
SKU:
PE.EP72565B
For
Children's Choir, SATB
Choir, and Orchestra
(2014). Composed by
Jonathan Dove. Choral
Works (inc. Oratorios).
Edition Peters. Modern.
Book. 72 pages. Duration
00:15:00. Edition Peters
#98-EP72565B. Published
by Edition Peters
(PE.EP72565B).
ISBN
9790577008219.
English.
Commiss
ioned by The Bach Choir
in memory of Leopold de
Rothschild (1927-2012), a
singing member of the
Choir for 50 years and
Chairman for 23 years.
Following his resignation
as a singer Leo became
the Choir's President, a
position he held until
his death; over this
extraordinary period of
devotion to the Choir he
became a friend to vast
numbers of his fellow
singers, and gave
unstintingly of his time
and wisdom
First
performance 10 June 2014
in the Royal Festival
Hall, London, by The Bach
Choir, the Philharmonia
Orchestra, and The Young
Singers, a choir formed
by The Bach Choir in
partnership with the
Tri-borough Music Hub,
conducted by David
Hill.
Orchestra
(pic.2.afl.2.ca.2Acl.0.bc
l.2.cbsn-4.3.2.btbn.1-tim
p.3perc(glsp, mar, crot,
tub bells, bell tree,
2sus cym, clash cym,
claves, b.d, wdbl)-str)
SKU: HL.49018422
Reflections on the
life and work of Paula
Modersohn-Becker
(1876-1907). Composed
by Sir Peter Maxwell
Davies. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Das 30minutige
Orchesterwerk in drei
Satzen, das von den
Bremer Philharmonikern in
Auftrag gegeben und von
diesen 2007 uraufgefuhrt
wurde, gehort zu den
Schlusselwerken von
Maxwell Davies der
letzten Jahre. Study
score. Composed 2006. Op.
276. 8 pages. Duration
30'. Schott Music
#ED13366. Published by
Schott Music
(HL.49018422).
ISBN
9790220132391. UPC:
884088614515.
8.25x11.75x0.232
inches.
Maxwell
Davies' 'Das Rauschende
der Farbe' (The Sound of
Colour) is a reflection
on the life and work of
the German artist Paula
Modersohn-Becker who died
aged 31 in 1907. Maxwell
Davies first got to know
the artist's work whilst
on a school exchange in
Hamburg in 1951 and the
composer has since
written that
Modersohn-Becker's work
has influenced the way
that he views the
relationship between art
and the landscape in
which it is produced.
This is a particularly
significant statement for
a composer whose music is
often a response to the
land and seascape of his
adopted home in the
Orkney Isles.
Commissioned by the
Bremer Philharmoniker and
first performed by them
in 2007, the 30 minute
orchestral work in three
movements is one of the
key works by Maxwell
Davies in recent
years.
Hawkes Pocket Score
1390. Composed by
Magnus Lindberg. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 40
pages. Boosey & Hawkes
#M060122408. Published by
Boosey & Hawkes
(HL.48024114).
ISBN
9780851628363. UPC:
888680708900. 8.25x11.75
inches. Hawkes Pocket
Score 1390.
Chorale
(2001-02), for orchestra,
is a kind of musical
meditation on the chorale
Es ist genug from Bach's
cantata O Ewigkeit, du
Donnerwort, itself a
harmonisation of J R
Ahle's 1662 hymn. Nick
Kimberley's preface
outlines the context of
the Bach original and
refers to Alban Berg's
use of the chorale in his
Violin Concerto almost
300 years later. In
contrast to both of these
works, Lindberg's Chorale
has no extra-musical
agenda. The composer
explains that he took the
harmonic structure of the
chorale and embedded it
in his own harmonies.
“I make an analogy
with the rise and fall of
the tide. When the tide
is in, the sea-bed is
invisible; but when the
tide goes out, you see
the rock formation on the
sea-bed.” Tribute
is a short show-piece for
full orchestra composed
in 2004 as a gift to
celebrate the 20th
anniversary of Esa-Pekka
Salonen's debut with the
Los Angeles
Philharmonic.
Orchestra SKU: PR.416415720 For Orchestra. Composed by Narong Pran...(+)
Orchestra
SKU:
PR.416415720
For
Orchestra. Composed
by Narong Prangcharoen.
Full score. 24 pages.
Duration 5:30. Theodore
Presser Company
#416-41572. Published by
Theodore Presser Company
(PR.416415720).
UPC:
680160636150.
Illum
inating Journey is
composed to celebrate
Maestro Carl St. Clair's
25th Anniversary season
with Pacific Symphony.
Maestro St. Clair is one
of the few conductors who
has dedicated his time to
new music and support for
living composers. I first
encountered Maestro St.
Clair in 2004 when I was
one of the finalists for
the Young Composers
Competition. After I won
that competition, I had
an opportunity to work
with Maestro St. Clair on
the piece that he
commissioned for the
Pacific Symphony in 2005.
That's the beginning of
the journey of our
friendship. Illuminating
Journey is inspired by
Maestro St. Clair's
personality and the music
he loved. The piece is
mainly based on the pitch
material from Maestro St.
Clair's name CARL which
can be translated as C =
C, A = A, R = Re, and L =
La. That pitch material
already has the character
of Illuminating sound for
the open 5th and octave.
The piece also
incorporates some musical
references that have some
meaning for Maestro St.
Clair, such as the
hopefulness of the
melodic intervals from
West Side Story, There's
a Place for Us, composed
by Leonard Bernstein, who
was also Maestro St.
Clair's mentor.
Illuminating Journey
starts with the rhythmic
motion of the pitch C and
moves on to create a set
of pitches. The note C
functions as a center for
the endless energy of
this piece and creates a
triumphant ending. I
would personally like to
thank Maestro St. Clair
for his dedication on my
music and his friendship
throughout the past 10
years. The work with
Maestro St. Clair and the
Pacific Symphony was an
early step in my career
as a composer. I often
mentioned that I may not
be able to come this far
without that part of my
life. Thank you very
much, Maestro St. Clair
and the Pacific Symphony.
Let's celebrate our
Illuminating Journey
together.
Orchestra (Study Score) SKU: HL.49045602 Opera in 3 Acts on the Play b...(+)
Orchestra (Study Score)
SKU: HL.49045602
Opera in 3 Acts on the
Play by William
Shakespeare. Composed
by Ryan Wigglesworth.
This edition:
Paperback/Soft Cover.
Sheet music. Opera.
Softcover. Composed
2015-2016. 350 pages.
Duration 100'. Schott
Music #ED13991. Published
by Schott Music
(HL.49045602).
ISBN
9790220137747. UPC:
841886032798.
8.25x11.75x0.816 inches.
English.
King
Leontes' jealous rage
results in the death of
his loyal wife Hermione
days after she has given
birth. Leontes orders for
the baby to be killed,
but many years later,
truth surfaces as a
crocus at the first sign
of thaw. Ryan
Wigglesworth's first
opera is a luminous,
persuasive retelling of
William Shakespeare's The
Winters Tale. His natural
sense for dramatic
narrative brings clarity
to this
tragedy-turned-romance,
its brooding opening act
unfolding gradually into
a light-hearted scherzo.
Written as the
culmination of
Wigglesworths tenure as
Artist in Residence with
English National Opera,
The Winter's Tale is not
to be missed.
Full
Score. Composed by
Per Norgard. Music Sales
America. 20Th Century,
Classical. Softcover. 188
pages. Edition Wilhelm
Hansen #KP00865.
Published by Edition
Wilhelm Hansen
(HL.14032192).
ISBN
9788759858394.
12.0x16.5x0.78 inches.
International (more than
one
language).
Symphony
No. 6 for orchestra,
1997-99. Preface /
Program Note:... with the
Lord a day is like a
thousand years, and a
thousand years is like a
day(New Testament, 2
Peter 3:8)My SYMPHONY NO.
6 was commissioned by the
Danish National Radio
Symphony Orchestra, the
Gteborg Symphony
Orchestra and the Oslo
Philharmonic Orchestra,
to be premiered at the
millenium 2000.The
subtitle AT THE END OF
THE DAY can be understood
literally or it can mean
when all is added up.
However, in my opinion,
nothing ever quite adds
up, there is always
something missing, any
ending will be
provisional ...This
symphony appears to end
only a few minutes into
the first movement, the
first passage, as the
music fades away to
almost-silence, after a
start of flying colours.
But then there is still
something, a small motive
(first heard in the
initial sound-waves)
which reappears,
hesitant, but persistent,
and this embryo is what
leads on the musical
progression. An agitated
section of many
instrumental voices comes
next, until all the
voices become obsessed
with the same phrase, a
see-saw motive based on
thirds. This section
evolves into almost
martial ferocity, when
broken off by a tutti
descent into an extreme
bass-world (a bass-world
which actually permeates
the whole symphony,
emplyoing instruments
that I have never used
before: double-bass tuba,
double-bass trombone,
double-bass clarinet, and
bass flute).The second
movement, the second
passage, apparently takes
off where the first
passage ended, but now
the events are more
ambiguous, and the same
music may be perceived as
fast-moving one moment
and slow-moving the next.
This section is a kind of
passacaglia, the
characteristic baroque
bass-variation.Without a
break follows the third
and last passage, in a
contrasting high
register. The music is
rhythmically knotty as
well as freely flowing.
As in the beginning of
the symphony, a
never-ending descent or
fall breaks off the
events, and at the very
end a delta of new
beginnings, of other
worlds, is revealed
....The symphony is
dedicated to Helle, my
wife. - Per Norgard.