PARTITIONS GRATUITES :
- Into the Clouds! - Pt.5 - Cello

SKU: HL.233289

12.0x9.25x0.43 inches.

Score and separate parts with spiral-bound keyboard/organ part. Number 5, 1950 was Mark Rothko's last painting before the breakthrough into his mature format. In it the luminous color fields of a classic Rothko are inscribed across the middle with three delicate lines. Describing this painting and its pivotal position in Rothko's work, Brian O'Doherty observes: 'After this, the lines disappear completely.' In recent years gesture and figuration have disappeared from my music. What used to be background has emerged to become a musical world composed entirely of floating color fields. In this new world I've changed media, moving from the orchestra to smaller combinations of acoustical instruments and electronically-processed sounds. I still think in orchestral terms, but this hybrid medium allows me to create orchestral textures for more practical and readily available ensembles. Initially I imagined this as a kind of monolithic music -an entire piece as one rich and complex sound. Then I came to hear it as homophonic or heterophonic. And now - in this musical world that I thought was completely free of lines - I've come to hear a polyphony of harmonic clouds. Maybe the lines never disappear completely. Maybe Christian Wolff was right when he quipped: 'No matter what we do, sooner or later it all sounds melodic.' - John Luther Adams.

SKU: HL.49045601

ISBN 9790001166256. UPC: 841886032682. 7.5x10.75x0.067 inches. Latin. Psalm 89.

About 40 compositions, including half for accompanying and unaccompanied choir, are currently in the catalog of young Polish composer Katarzyna Danel (born 1992). After several national composition competitions, she won the 13th International Composition Competition Musica Sacra Nova with her Misericordias Domini for eight-part mixed choir a cappella. The complex spiritual a cappella choir is based on the Gregorian chant of the same name (Psalm 89,2). Three principal structures are characteristic of this Latin-language choral piece: on the one hand, aleatoric sound clouds in major pentatonic scales, soundally supported by long-held organum-like notes taken from the Gregorian choral melody; As well as a renaissance-like polyphony, which is linked with modern harmony; And finally long static chords that blend into harmony and space. A wonderfully mystical-spherical composition, which also gives the individual performer the possibility of individual design through the ad libitum passages marked in the sheet music.