Format : Score and Parts
SKU: HL.50602000
ISBN 9781540053404. UPC: 888680941925.
Grotesques by David Lancaster for Flute, Oboe, Clarinet in Bb and Bassoon. Score and parts.
SKU: HL.134771
8.5x11.5x2.2 inches. Author: Bacewicz.
SKU: HL.8772528
UPC: 888680898427. 8.0x11.0x0.056 inches.
SKU: BT.PWM9899010
SKU: HL.50571075
SKU: PR.41641515L
UPC: 680160621750.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.
SKU: BT.DHP-1084489-010
9x12 inches. English-German-French-Dutch.
Il Signore Fagotto begint met een briljante orkestrale introductie. Dan introduceert de fagot het hoofdthema van het werk. De uitgebreide toepassing van een onregelmatige maatsoort (7/8) geeft de fagot de mogelijkheid om zijncharmante en schalkse kenmerken te onderstrepen. Dit spreekt tot onze verbeelding: we stellen ons voor hoe het beschreven karakter (Il Signore Fagotto) ondeugende streken levert. Kortom: een bijzonder boeiende compositie voor harmonieorkest,met als basis een prachtige hoofdrol voor de fagot!Die Vielseitigkeit des Fagotts erkannten schon viele große Komponisten, wie z.B. Vivaldi oder Rimski-Korsakow. Es kann von melancholisch, klagend bis hin zu komisch und grotesk klingen. Letztere Eigenschaft war der Grund, warum in der commedia dell’arte im Italien der 1550er Jahre eine Figur namens Signor Fagotto, die das Fagott verkörperte, eine der wichtigsten komischen Rollen spielte. Maxime Aulio benannte nach ihm dieses Werk, in dem das Fagott seine schalkhafte, charmante Seite voll ausleben und auch das übrige Blasorchester brillieren kann.Nicola Rimski-Korsakov disait du basson qu’il était « sénile et fourbe en Majeur, souffrant et triste en mineur ». Dans le grave et en staccato, il est indéniablement comique, grotesque et bouffon. Cette diversité de caractère avait déj inspiré la Commedia dell’arte qui confia Signor Fagotto l’un des rôles comiques essentiels. Au XVIIIe siècle, selon l’usage de l’opéra-comique italien (opera buffa), la voix était doublée par un instrument vent. De Signor Fagotto au basson, l’instrument qui allait le seconder, il n’y avait qu’un pas. C’est aussi cette époque que le basson devient un instrument soliste part entière. Vivaldi lui consacrera près de40 concertos. Sans doute a-t-il été conquis par sa personnalité généreuse, comme bien d’autres compositeurs dont Maxime Aulio. Il Signore Fagotto débute avec une introduction orchestrale brillante. Le soliste expose ensuite le thème premier de l’œuvre. L’utilisation presque constante d’un chiffrage de mesure irrégulier (7/8) permet au basson d’accentuer son caractère espiègle et charmant, tout en laissant l’auditeur un espace de liberté suffisant pour imaginer les facéties du personnage. Il Signore Fagotto est une œuvre captivante pour l’accompagnement orchestral et qui offre au basson une superbe partie soliste.Il Signore Fagotto a été donné en création mondiale le 24 avril 2002 par Laurent Le Chenadec (basson) accompagné de l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse.
SKU: HL.50606905
ISBN 9798350122176. UPC: 196288202059.
Sofia Gubaidulina took Christian Morgenstern’s collection of poems “Gallow Songs†as the starting point for her own song cycle. Gubaidulina adapted 15 of Morgenstern’s seemingly childlike, formally simple poems, which are full of linguistic playfulness, for mezzo-soprano, double bass and percussion. In her settings, the composer subtly explores the ambiguities of Morgenstern’s poems and transforms their grotesque imagery into unique miniatures of sound. 14 of these songs are also available in a version for mezzo-soprano, flute, double bass, bayan and percussion.
SKU: BT.EMBZ14709
German-French.
The 'Lullaby' to celebrate the first birthday of my son András forms the first melody of the Fruit Basket. This cycle of children's poems is full of humour and delicacy of feeling, sometimes even reminiscent of a grotesque, which makes such poems equally delightful for adults. There thus arose twelve melodies to match this cycle of very short songs with the following characteristics: the curious march of 'Kaspar' (Punch) the fabulous world of the 'Magic Box' the tenderness of 'Sunbeams' the sound of bells in 'Morning in the Village', where a cock crows and a donkey brays the tranquillity of the forest where 'Violets' are hidden. Abstraction and humour are found in the 'StoneFrog' charm in the lyricism of the 'Lullaby' gentleness in the sound of the 'Sleigh Bells'. In a watery world there reigns the 'Frog King' while the 'Little Elf' dances with the angels and the 'Hanswurst' (Harlequin) Serenade rings out in jocular and sad vein. Together a whole row of wonderful appearances all find their epitome in the concluding 'Midday-Cloud'. This work was originally written in 1946/47 the version for solo singer and wind quintet was composed in 1980. Until now it has been available only for hire, it is being released on to the market now for the first time. Der Komponist schrieb über sein Werk: ‚Das 'Wiegenlied', das als Erstes entstandene Lied des Liederzyklus ‚Früchtekorb', komponierte ich anlässlich des ersten Geburtstages meines Sohnes András. Der Humor und das Feingefühl in den Kindergedichten von Sándor Weöres, die zuweilen an Grotesken erinnern, sind auch für Erwachsene reizvoll und haben mich zu weiteren Liedern inspiriert. So entstanden in kurzer Folge die zwölf Liederdes vorliegenden Zyklus.'.
SKU: SS.50003660
SKU: BT.DHP-1084489-140
SKU: HL.48025392
UPC: 196288195443.
To mark the 100th birthday of Ursula Mamlok (1923 – 2016), Boosey & Hawkes Bote & Bock, in collaboration with the Dwight and Ursula Mamlok Foundation, is publishing a series of works from the composer's estate that were not published during her lifetime. This volume brings together four aphoristic songs from 1946 and 1950, which show Mamlok to be an early (and then lifelong) mistress of the small form and are all the more interesting because vocal music plays rather a minor role in the composer's oeuvre. Here she responds to the poetry and the way of thinking of her adopted homeland of only a few years, with English texts of the late 19th and early 20th centuries. The themes and attitudes are as varied as their authors, from the idyll of nature to the snapshot of a party to the grotesque nursery rhyme, each of which is put into music by Mamlok just as sparingly as fittingly.
SKU: OU.9780193588790
ISBN 9780193588790. 12 x 8 inches.
For oboe and harp The piece is a suite of six contrasting miniatures built around fragments of melodies which are repeated, each time with subtle variations. Particularly striking is the simple, folk-like melody of the fifth movement and the dissonant, almost grotesque march that precedes it.
SKU: BT.MUSM570366194
English.
The Four Last Things for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’, a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail, immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece, but inspiration has been taken from the manner in which Boschjuxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance, but even whilst providing more of an accompanying role, they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.
SKU: BT.SLB-00184600
SKU: HL.49045437
ISBN 9790001162715. UPC: 841886029088. 9.0x12.0x0.168 inches.
On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther.The composer describes the five movements of the symphony as follows:'1st movement:Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people.2nd movement:In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time.3rd movement:The omnipresence of death and dying - from the plague and war to the never-ending dangers of daily life - was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air.4th movement:The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air.5th movement:The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
