Brass Band - Grade 3

SKU: BT.AMP-281-030

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Set (Score and Parts). Composed 2009. Anglo Music Press #AMP 281-030. Published by Anglo Music Press (BT.AMP-281-030).

9x12 inches. English-German-French-Dut ch.

In 2006, a long-time dream of Philip Sparke finally became reality: to compose a set of variations on the famous chorale from Saint-Saënsâ?? renowned Organ Symphony. In 2009 the composer reworked the piece for brass band. The resulting Saint-Saëns Variations has been simplified, shortened and in many places completely recomposed, to distill the essence of the symphony even further and allow younger bands to enjoy the power of Saint-Saënsâ?? masterpiece in an approachable, yet completely faithful, work.

Gebaseerd op de bekende Orgelsymfonie van de Franse componist Camille Saint-Saëns een waar meesterwerk.

2006 erfüllte sich Philip Sparke den lang gehegten Wunsch, eine Reihe von Variationen über den berühmten Choral aus Saint-Saënsâ?? Orgelsinfonie zu schreiben. Die 2009 daraus entstandenen Saint-Saëns Variations sind vereinfacht, gekürzt und an manchen Stellen auch völlig neu komponiert, um die Essenz der Sinfonie noch besser herauszukristallisieren und tiefer besetzten Brass Bands einen gut spielbaren und dennoch im Kern originalgetreuen Zugang zu dem kraftvollen Meisterwerk von Saint-Saëns zu ermöglichen.

Ba sées sur la magistrale Symphonie n°3 avec orgue de Saint-Saëns.

Viola 1 (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-19

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 12 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-19. Published by Breitkopf and Haertel (BR.EOS-8047-19).

ISBN 9790004789742. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Piano

SKU: FG.55009-910-4

Composed by Kai Nieminen. Published by Fennica Gehrman (FG.55009-910-4).

ISBN 979-0-55009-910-4.

Basso (cello/double bass) (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-26

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; stapled. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 16 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-26. Published by Breitkopf and Haertel (BR.EOS-8047-26).

ISBN 9790004789766. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Wind Trio

SKU: BT.EMBZ14513

Composed by Gyula Csapó. EMB Contemporary Music. Contemporary Music. Book Only. Composed 2007. 82 pages. Editio Musica Budapest #EMBZ14513. Published by Editio Musica Budapest (BT.EMBZ14513).

English-Hungarian.

The composer writes about his work: My piece entitled Embroidery patterns on the cracked surface of the Earth can be imagined somehow as follows: two clarinets and a bassoon write beautifully ornamented magic formulas in the clay. As they proceed, the surface cracks into pieces. They almost finish the writing , but an invisible hand keeps rearranging the innumerable component elements. The rearrangement creates time hiatuses, or heaps together units of information in masses of unexpected density (in the second part, brief but condensed suddenly-emerging patterns of differing density scratch the surface of the long periods of silence) elsewhere it collides with the netof sound that carries the material and thus huge faults, ruptured tectonic plates, come into being The complete work was first performed by the Trio Lignum (Csaba Klenyán, Lajos Rozmán, György Lakatos) in Budapest in 2005.

Der Komponist schreibt über sein Werk: mein Stück: Embroidery patterns on the cracked surface of the Earth“ kann man sich ungefähr so vorstellen: Zwei Klarinetten und ein Fagott schreiben“ schön verzierten Zauberformeln in Ton. Wie sie sich vorwärts bewegen, wird die Oberfläche in Stücke gespalten. Sie beenden fast sie das Schreiben, eine unsichtbare Hand restrukturiert“ aber immer wieder die enorm vielen Bestandteile. Die Rekonstruktion “ schafft Zeitlücken oder sie häuft Informationen in unerwarteter Dichtheit aufeinander (im zweiten Teil kratzen kurze, aber komplexe, unerwartet auftauchende, unterschiedlich dichte Muster die Oberfläche der langen Stille), wo anders stößtsie sich an das Materie tragende Netz, und so entstehen große Verwerfungen, gebrochene tektonische Platten.Die Premiere des kompletten Werks fand 2005 in Budapest, unter der Mitwirkung des Trio Lignum (Csaba Klenyán, Lajos Rozmán, György Lakatos) statt.