Carlos Surinach's Flamenco Meditations for Voice and Piano.On five 'Sonnets from the Portuguese' by Elizabeth Barrett BrowningDedicated to Hilde Wittgenstein.'The heritageof flamenco is one of Spain's richest treasures. From its Berber-Sephardim roots this pure form of music has made itself a unique place in the history of the humanities and the arts. Its joys and sorrows are of an intricatenature: at once introvert and extrovert they are conveyed through dramatic rhythms and singular contrasts. I write freely in this idiom.In this song cycle I have combined drama with sheer primitivism to celebratelove and death. The five Sonnets from the Portuguese by Elizabeth Barrett Browning were the ideal lyric inspiration. This is great poetry and strangely enough it is close to what would have been said in Spanish had the songsemanated from ethnic impulses.' - Carlos Surinach

Score-Carlos Surinach's Ritmo Jondo (Flamenco) for Concert Band.The three flamenco rhythms Ritmo Jondo were first performed in a concert of Percussion music at the Museum of Modern Art New York on May 5 1952. This original version is written for Clarinet Trumpet Xylophone Tamburo Timpani and three hand clappers. Its duration is six minutes.In an extended version for chamber orchestra - about twenty minutes in length - Ritmo Jondo was commissioned by the Rothschild Foundation for a ballet with choreography by Doris Humphrey. It was first performed at the Alvin Theatre New York on April 15 1953 bythe Jose Limon Dance Company.The present version for Concert Band eight minutes long has been orchestrated by the composer.

Score-Carlos Surinach's Melorhythmic Dramas was commissioned by the Meadow Brook Music Festival Committee Oakland University Rochester Michigan. Dedicated to the Meadow Brook Festival the work was premiered on August 16 1966 by the Detroit Symphony Orchestra with Sixten Ehrling as Musical Director.'Through verse prose music dance - or whatever may be - drama is a performed event involving intense conflict of forces. Effect action artifice and contrasts are part of it. To give the feeling of drama a theatrical trend is not compulsary. Pure melorhythmic music (and its orchestral technique) may have the power to express dramaticemotions without yielding to human deeds or stage stituations'. - Carlos SurinachThe seven Melorhythmic Dramas: 1. Fervid 2. Festive 3. Poignant 4. Tragic 5.Voluptuous 6. Vehement 7. Mournful

Score-Carlos Surinach's Sinfonia Chica for Orchestra. Full score.The title Sinfonia Chica is derived from the derogatory label 'genero chico' which was first given to Spanish folk musicby the Italian musicians and their Spanish adherents who dominated all art music in Spain during the first half of the 18th century.The work represents a fusion of the traditional rhythms and melodic patterns of the Spanishtonadillas (early zarzuelas) and the stylistic characteristics of 20th century harmony structure and instrumentation.Duration: 16 minutes

Carlos Surinach's Las Trompetas De Los Serafines for Orchestra.The world premiere of Las Trompetas de los Serafines was given by the Muncie Symphony Orchestra on December 5 1973 with Robert Hargreaves conducting.Dedicated to Robert Hargreaves and the Muncie Symphony Orchestra in recognition of their 25th Anniversary Season.Duration: approx. 8'30'

2005-Søren Nils Eichberg's Symphony No. 1 'Stürzten wir uns ins Feuer' for Orchestra (2005). DK Programnote Eichbergs 1. Symfoni er skrevet i 2005 og blev uropført året efter af Odense Symfoniorkester. Symfonien er i ét sammenhængende forløb og varer en halv time. Den har en undertitel: 'Stürzten wir uns ins Feuer' ('Styrtede vi os i flammerne'). Ordene er taget fra bogen 'Jesusevangeliet' skrevet i 1991 af den portugiske Nobelprismodtager José Saramago. Det fulde citat er en dommedagsvision der lyder sådan her: '… og var viligeså dumdristige eller vovemodige som sommerfuglene og natsværmerne og styrtede vi os i flammerne én og alle hele menneskeslægten - måske så en så kraftig brand en så skærende lue ville gennemtrænge Vorherres lukkede øjenlåg og vække ham fra hans træge blunden - for sent ganske vist til at nå at opfatte os men dog tidsnok til at mærke begyndelsen af det store intet nu da vi ikke længere var…' Visionen fascinerede Eichberg med det samme han læste bogen. 'Der er for mennesket noget direkte magisk tiltrækkende ved den kollektive selvdestruktion og katastrofen som sådan også selvom det egentlig synes ulogisk og gang på gang styrter vi os hovedkulds ind i ilden. Jeg vidste med det samme at jeg ville bruge citatet i musik på et tidspunkt.' Men når citatet står over Søren Nils Eichbergs Symfoni nr. 1 er det konkret også fordi han fandt at det udtrykte noget om situationen i begyndelsen af 2000-tallet. 'Europa førte igen angrebskrig ' forklarer han 'og de politiske strømninger der 60 år forinden lagde Europa i ruiner var på fremmarch igen. I Danmark lod man dem ligefrem få parlamentarisk indflydelse.