Format : Score and Parts
SKU: AP.12-0571539394
ISBN 9780571539390. English.
Britten's last opera, Death in Venice, is based on the short story by Thomas Mann. It follows the inner turmoil of the aging novelist Gustav von Aschenbach, who becomes infatuated by a boy he sees on the beach in Venice. Unable to confess his love, he dies as the city is ravaged by plague. Full of atmosphere and intense soundscapes, the simple yet subtle motives pull the opera together with great sureness of touch.
SKU: BT.MUSM570360116
English.
For Viola and Cello. Published 2008. Dedicated to Garth Knox and Rohan de Saram First performance: Intrasonus Festival Venice, 3 May 2008 This music was composed during my DAAD residency in Berlin in October — November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'. a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers. This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer Straße and the cobbled two-stone line tracing the wall across where it once stood — a clear reminder of what not so long ago there were two different worlds in one city — provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'. In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2. As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice..
SKU: PR.11641139S
UPC: 680160682119.
Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100. I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici. My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven. III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut. IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.
SKU: PR.11641139L
UPC: 680160682126.
SKU: BT.MUSM570360130
For Violin and Cello. Published 2008. Dedicated to Peter Sheppard Skaerved and Neil Heyde. This music was composed during my DAAD residency in Berlin in October — November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'. a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers. This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer Straße and the cobbled two-stone line tracing the wall across where it once stood — a clear reminder of what not so long ago there were two different worlds in one city — provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'. In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2. As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice..
SKU: HL.49041657
ISBN 9790220133145. UPC: 841886022140. 9.0x12.0x0.068 inches.
I had written the Cadman Requiem in 1989 for the Hilliard Ensemble in memory of my friend and sound engineer Bill Cadman, who was killed in the Lockerbie air crash. His death affected me very deeply and, pending a recording of this piece, Manfred Eicher asked if I might like to develop an instrumental work from this, using the same instrumentation for accompaniment and retaining the same opening bars as part of a new ECM album. The piece is after the Requiem therefore in the musical sense of being based on it, in the chronological sense of following on from it, and in the spiritual sense of representing that state which remains after mourning is (technically) over. I wrote the piece in Venice in September 1990 and finished it in Oslo on the day of the recording, where I added the electric guitar of Bill Frisell. This, I felt, blended particularly well with low strings (2 violas and cello). Coincidentally, having used certain distortion effects on the guitar, we found that we were recording on the twentieth anniversary of the death of Jimi Hendrix. Within the music I use one or two modified extracts from the Cadman Requiem itself, and from its common source Invention of Tradition, for which Bill Cadman had done the sound design.The piece is dedicated to the two Bills (Cadman and Frisell).
SKU: BT.PWM12158010
SKU: FT.FM137
ISBN 9790570480364.
Saxophone Octet SSAATTBB . Giovanni Gabrieli composed his Canzon septimi toni for the majestic St. Mark's Cathedral in Venice, where he was organist and principal composer from 1585 until his death. It comes from a collection of music for brass that Gabrieli composed for church use and published in 1597 under the title Sacrae symphoniae . The pieces in the collection are for various combinations of trumpets and trombones, whose players would have been placed antiphonally inside St. Mark's to take advantage of the church's acoustics and to clarify the dialogic musical structure of works such as the Canzon . This arrangement recreates the antiphonal effects using two sax quartets. The two groups sometimes alternate and sometimes overlap, using rich contrapuntal textures to build the music to a grand climax. Separating the two groups spatially adds yet more interest to the aural experience. Not technically difficult (in concert Bb major), but the use of minim time signatures and the complex polyphony make it musically more challenging.
SKU: HL.14014073
UPC: 884088808891. 8.5x11.0x0.108 inches.
'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement, sectional design. Progressively faster tempi lead to the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C. Quoting composer:'In April 1975 I occupied a flat in Aldeburgh, Suffolk, near the seafront. As a member of the English Chamber Orchestra, I had come to work for a week on a recording of Britten's opera 'Death in Venice', so the real and suggested sound of the sea was in my ears, so to speak, for days on end. A few weeks later, when I started work on 'Verse 1', it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten's music, but I do, however, quote a small fragment from a theme to be found in a piano quartet by Mahler, played early in the piece by the flute (bars 6 & 7). This work was awarded the First Prize in the Viotti International Competition for composers, in Italy in 1975.
SKU: HL.14035114
Few baroque composers were ever able to create work as sunny, as joyous as Vivaldi did in this beloved Gloria. The contrast of mood throughout the work as it moves through the drama of the Mass to its satisfying double final movement shows the composer at the height of his powers.Vivaldi composed this work in Venice in about 1715, during his fruitful time at the Ospedale della Pieta. In his lifetime this priest, composer and virtuoso Violinist achieved enormous musical success. Considering his great popularity in the modern era, it is difficult to believe that public appreciation of his work declined after his death and that the Gloria languished undiscovered forcenturies. It wasn't until 1957 that the restored work was heard again in its entirety. Since that time, this moving and joyous Gloria has been recorded more than one hundred times and perennially appears on concert series around the world.
SKU: BA.BA04081
ISBN 9790006497782. 33 x 25.8 cm inches.
In his libretto for “ Riccardo primoâ€, Paolo Rolli drew on Antonio Lotti’s opera “ Isacio tiranno †which had been performed in Venice in 1710. Handel needed a text with two great women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni . He had already written the operas “Alessandro†and “ Admeto †for them. He began composing “ Riccardo †in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remained closed. For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a new opera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultan of Egypt and Syria , who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion‹’ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.
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