SKU: CL.012-3252-00
An ambitious composition based on an ancient psalm-chant that the composer heard sung by a group of monks in Europe. Elements from the chant are used in a variety of ways creating a wide range of textures and moods until the chant reappears at the end of the piece scored for the full ensemble. Unique and challenging!
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.012-3252-75
SKU: HL.14003062
ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish.
Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co.
SKU: PR.510077130
ISBN 9790043087250.
In Sanskrit, the word Vrishti means rain and in the Hindu context, the work evokes (divine) light falling on the world like rain, the influx of luminous thoughts. Vrishti is a manifestation of superior consciousness in our life, a spiritual fullness. This piece is based on a mantra to Siva I once heard in Jaisalmer (Rajasthan) in July 2008. M. Rupendra Gopa Ji allowed me to record his vocal performance. The in-depth study of this mantra revealed important factors (temporality, rhymicity, intonation, articulation, agogics) that influenced my own compositioin, showing through the surface as a far-off echo in filigree or as a faint trace like a thermal imprint or a fossil light. For the performer, the most tangible traces of this palimpsest-like process are found in the constant change between binary and ternary meters, and in the 27-strophe structure that follows the original design and proportions of the original mantra. --Bertrand Dubedout.
SKU: CL.012-3252-01
SKU: HL.48024565
Most of us, when confronted with the term graffiti, are likely to associate it with the rather desolate wall scrawlings all over our urban landscapes. However, this is not the whole picture: no less artists than Klee, Miro, Dubuffet, and Picasso were interestedin it (the latter painting examples himself on Parisian walls). In our time, there is the highly interesting and controversial phenomenon of Street Art, which has occasionally wittily succeeded in criticizing the commercialization of cities. At their best, street artists have been able to thwart the expectations created by omnipresent mass media and by advertising - one can find some particularly remarkable examples in metropolises such as Berlin, Paris, or New York. Though this was the initial stimulus for Graffiti, it finally branched into rather different directions: it is only very loosely, ifat all, connected to the phenomenon of Street Art (or to the visual arts). The music is not illustrative nor is it programmatic and the main idea was to compose a music which is not restricted as to time or place, and which offers strong contrasts between different modes of expression. The three movements headings give a hint of the changing modes, moods, and structures of the music. The first movement, Palimpsest,is polydimensional and many-layered; one can hear allusions to a multiplicity of styles. The second movement, Notturno urbano, forms a strong contrast to the hyperactive previous movement. It starts with distant and gradually approaching bell-like sounds, from which the whole movement's musical material is being derived. The instruments are often used in an unconventional way: the winds as well as the strings employ extended techniques, which contributes to the aloofness and the mysteriousness of the movement. The third, highly virtuosic, movement, is a kind of an 'urban passacaglia' (the name of this musical form actually derives from the Spanish 'pasar una calle', 'to walk along a street'). It consists of eight incisive chords, which are played continuously by the brass, albeit always in a different way. Two worlds collide in this movement: the brass attacks are commented upon by flitting interjections of different instruments, which are highly varied in character and length. As a whole, the musical language of Graffiti shifts between roughness and refinement, complexity and transparency. It is rich in contrast and labyrinthine, neither tonal nor atonal. Graffiti calls for great agility, virtuosity, and constant changes of perspective from the musicians; each instrument is being treated as a soloist. Graffiti was commissioned by the Los Angeles Philharmonic Association, Barbican, London; Orchestra Ensemble Kanazawa, Kunststiftung NRW and Ensemble musikFabrik. It was first performed on 26th of February 2013 by the Los Angeles Philharmonic New Music Group conducted b.
SKU: HL.1187375
ISBN 9781705191958. UPC: 196288129332. 9.0x12.0 inches.
Saxophone Part. The Cage without Birds, for mixed children's choir, saxophone and organ, written for Sam Corkin's Palimpsest project, takes Schumann's “Wehmut†as its starting point. Schumann's song, from the Eichendorff Liederkreis Op. 39 describes 'Nightingales,sing[ing]/Their song of longing/From their dungeon cell'. In my little piece, motives from Schumann's melody are given to the saxophone, who represents a free, cageless bird. The text set is Richard Stokes' translation of a Jules Renard's prose poem of the same name, part of his Histoires Naturelles.
SKU: HL.287280
Aarhus Ragtime (a la Charles Ives) - a Palimsest for Ensemble by Hans Abrahamsen (1991) Dedicated to Steen Pade. Manuscript Copy.
SKU: HL.1187374
ISBN 9781705191941. UPC: 196288129325. 9.0x12.0 inches.
Vocal Score. The Cage without Birds, for mixed children's choir, saxophone and organ, written for Sam Corkin's Palimpsest project, takes Schumann's “Wehmut†as its starting point. Schumann's song, from the Eichendorff Liederkreis Op. 39 describes 'Nightingales,sing[ing]/Their song of longing/From their dungeon cell'. In my little piece, motives from Schumann's melody are given to the saxophone, who represents a free, cageless bird. The text set is Richard Stokes' translation of a Jules Renard's prose poem of the same name, part of his Histoires Naturelles.
SKU: HL.50412680
10.75x14.0x0.105 inches.
SKU: BT.MUSM570364244
English.
Hidden Ceremonies I by Sadie Harrison. 9 fragments after paintings by Brian Graham.I after ‘Antiphon’ (1999)II after ‘Sacrarium’ (2000)III after ‘Palimpsest’ (2000)IV after ‘The Intervening Figure’ (2002)V after ‘Flint’ (2003)VI after ‘Hearth’ (2003)VII after ‘Hidden Ceremony’ (2004)VIII after ‘Spine’ (2005)XI after ‘Antler Music’ (2006).
SKU: SU.29130450
CF 6. Second Edition. Solo Violin Duration: 16’ Composed: 1979 Published by: Christopher Fulkerson.
SKU: HL.14017279
SKU: BT.PMC3021
SKU: LM.JJ07876
ISBN 9790230807876.
SKU: BT.PMC3021A
