Haendeliana

SKU: BT.DHP-0900187-020

Deze indrukwekkende compositie is gebaseerd op een thema van Georg Friedrich Händel. Handelian Song is een prachtig voordrachtswerk dat geschikt is voor vrijwel alle gelegenheden.

Diese eindrucksvolle Komposition präsentiert zwei Hauptthemen, von denen eines auf einer Melodie von Georg Friedreich Händel basiert. Handelian Song ist ein prächtiges Vortragsstück, das allen Anlässen einen Hauch von Glanz und Festlichkeit verleiht.

Cette composition mélodieuse et fluide de Robert van Beringen développe deux thèmes principaux dont l’un est basé sur une mélodie de Georg Friedrich Haendel. Exposées, dans un premier temps, de façon séparées, les deux mélodies se rejoignent et s’imbriquent dans le passage final. Une œuvre superbe aux couleurs sonores brillantes et festives.

SKU: HH.HH245-SOL

ISBN 9790708059950. UPC: 97819057779505.

The second volume of the Fitzwilliam Handeliana series is largely made up of hitherto unfamiliar and in some cases previously unidentified 18th century keyboard arrangements of Handel's music contained in the manuscript collection at the Fitzwilliam Museum, Cambridge.

SKU: CF.CM8808

ISBN 9780825850462. UPC: 798408050467. 6.875 X 10.5 inches. Key: G major. Text: Walter Chalmers Smith. Walter Smith.

The sturdy Welsh hymn-tune “Joanna” is provided with a grand, almost Handelian setting employing optional brass and timpani, by the skillful Patrick M. Liebergen. This treatment involves the congregation on verses 1 and 4, and it is an especially appropriate choice for any special or festive occasion.

SKU: HL.44000973

UPC: 073999429565.

SKU: GI.G-9190

UPC: 785145919003. English. Text Source: Issac Watts, 1674-1748, alt. Text by Isaac Watts.

This setting of “Joy to the World” has a “Handelian” feel, complete with a sly quotation from the “Hallelujah” chorus at the end. Stanzas 2 and 3 are combined and set in fugal fashion. Fun to sing, it will become a favorite of the choir and the congregation! The string bass part is optional.

SKU: HH.HH448-FSP

ISBN 9790708146551.

In Sonata 7, in D major, Balicourt opens with a suave, intricately rhythmic Adagio. The following Presto, with its delightful interplay between flute and bass, including both octave doubling and stretto imitation, is the most skittish movement to emerge from the composer’s pen. The finale is a ‘sandwich’ movement, in which a Minuetto encloses a duple-metre Cantabile in D minor. Although the minuet could be said to exemplify one of those ‘easy’ movements referred to in Balicourt’s prospectus for subscribers, its complex, prescribed ornamentation requires sensitive handling. Sonata 8, in E minor, is strategically placed as the final work in the set, being one of the longest as well as the most conservative; adopting the traditional four-movement configuration, it continually harks back to the grand Handelian style. An eloquent Andante ushers in a Presto containing many, slightly academic, contrapuntal touches and much chromaticism. The subsequent Largo is only five bars long: its plain melodic line in minims and crotchets is the skeleton around which the flautist is expected to weave an elaborate embroidery. For the finale Balicourt introduces, in effect, a new version, in triple metre, of the second movement. The fact that all four movements are in E minor heightens the sense of unity, which is expressed very concretely through their sharing of some thematic material.

SKU: HH.HH546-IPT

Burgess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-response’ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions.

SKU: FT.FM516

ISBN 9790570484157.

Whilst John Rutter is extremely well known for his religious choral music, he has also written a few orchestral pieces that are every bit the equal of his better known works. This Suite is indeed one of these. Originally written in 1973, and following the tradition of earlier English composers like Vaughn Williams and Percy Grainger, this suite explores various English folk tunes. The opening movement has a kind of hornpipe feeling to it that uses the jaunty tune 'A rovin' yet this is balanced with the more reflective counter melody 'I sowed the seed of love.' Of course the 'racy' tune wins the day! The second movement - 'I Have A Bonnet Trimmed In Blue' is a perfect evocation of an elegant young lady who is keen to display her new bonnet to the local swains! Yet perhaps she is a little shy and is apprehensive about possible comments. From the last section I believe she found her hearts desire… The slow movement is based on the folksong 'O Waly Waly', a tune that will forever be associated with the late Kathleen Ferrier. This version gives the tune a sense of regret and sometimes intensity that matches the words:- O love is handsome and love is fine, And love is charming when it is true; As it grows older it groweth colder And fades away like the morning dew. The mood is lifted for the last movement, with an almost Handelian rendition of 'Dashing Away With The Smoothing Iron'. However, this tune doesn't have everything it's own way, for the 'Bailiff's Daughter' makes an appearance as well for a triumphant ending:- O stay, O stay thou goodly youth! She's alive, she is not dead; Here she standeth by thy side, And is ready to be thy bride... (and hopefully they both do the ironing!).

SKU: DZ.DZ-4308

ISBN 9782898522253.

Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCESCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.