Format : Score
SKU: BT.DHP-0940582-140
Utopia is de naam waaronder een in 1516 door de Engelse schrijver Thomas More gepubliceerd boek bekend is geworden. Utopia is een door More zelf naar het Grieks gemaakt woord dat Nergensland betekent en de woorden utopie en utopismeheeft doen ontstaan. Utopia schildert een ideale staat op een ver van de bewoonde wereld gelegen eiland. Dit idee vormde de inpiratiebron voor deze compositie. Qua variatie in thematiek en stijl doet het werk denken aan Oregon.Ook Utopia bestaat uit een combinatie van stijlen die de atmosfeer ademen van filmmuziek. Toch klinkt Utopia minder Amerikaans. Het langzame, meeslepende middendeel bijvoorbeeld komt dichter in de buurt van de Europese romantiek.de drieklanksignalen in het koper herinneren aan de muziek van Wagner.
SKU: BT.DHP-0940582-010
Utopia is the name of a book written by the English author Thomas More and was published in 1516. The title is a word thought up by More himself, after the Greek language, meaning Nowhereland and leading to the invention of the words utopian scheme and utopian. Utopia pictured an ideal state on an island far from the inhabited world. This idea was the basis of the composition. It makes one think of Oregon in variety of themes and style. Utopia also exists of a combination of styles that breathe the atmosphere of film music. However, Utopia sounds less American. The slow and stirring middle part for example is closer to the European romanticism: the chord signals in the brasssection remind of Wagner's music. Utopia is de naam waaronder een in 1516 door de Engelse schrijver Thomas More gepubliceerd boek bekend is geworden. Utopia is een door More zelf naar het Grieks gemaakt woord dat Nergensland betekent en de woorden utopie en utopismeheeft doen ontstaan. Utopia schildert een ideale staat op een ver van de bewoonde wereld gelegen eiland. Dit idee vormde de inpiratiebron voor deze compositie. Qua variatie in thematiek en stijl doet het werk denken aan Oregon.Ook Utopia bestaat uit een combinatie van stijlen die de atmosfeer ademen van filmmuziek. Toch klinkt Utopia minder Amerikaans. Het langzame, meeslepende middendeel bijvoorbeeld komt dichter in de buurt van de Europese romantiek.de drieklanksignalen in het koper herinneren aan de muziek van Wagner.
SKU: BT.DHP-0940582-020
SKU: BT.DHP-0940582-220
SKU: AP.49897
ISBN 9781470657291. UPC: 038081575445. English.
A Utopian Fantasia, by Anthony Granata, depicts a beautifully majestic and serene landscape shrouded in mystery and wonder. Set in the key of E minor, the opening features a rich legato ballad with an eerily somber melody passing through each section of the orchestra. The mood abruptly shifts to a jarring and heavily accented six-note motif. Reminiscent of Classical literature, a small contrapuntal passage develops this motif, interspersed with the original opening melody. Inversions of the theme finally give way to a call-and-response dialogue within the different sections of the orchestra before finally ending quietly and slowly with a subtle hint to the opening. (3:00).
SKU: AP.49897S
ISBN 9781470657307. UPC: 038081575452. English.
SKU: CN.R10243
This 3-movement tribute to H.G. Wells perfectly captures the imagination and wonderment found in the author's collection of works. The first movement is a march that could easily be extracted and performed on its own as a nice alternative to Sousa.The Time Traveller: A tribute to H.G. Wells is cast in three movements: March: Anticipation, Mankind in the Making, and A Modern Utopia. Commissioned by the Bromley Youth Concert Band and first performed under the Director: Peter Mawson, on Sunday, March 3, 2002, at the Queen Elizabeth Hall, South Bank Centre, London.
SKU: CL.012-4733-00
The Lost City of Shambhala takes the listener on a journey to the discovery of the mythical utopia, nested in the Himalayas. In Sanskrit, Shambhala means place of peace, and the music paints an Eden-esque landscape shrouded in mystery. But it is soon discovered that entry into the city is well-guarded and met with hostility as the music shifts to a heavily percussive, driving thrill-ride of shifting 7/8 and 4/4 time signatures. An exciting and energetic work that makes a fantastic addition to any program!
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: HL.50583439
SKU: HL.50600992
8.25x11.75x0.089 inches.
“Buenos Aires is good air, utopia, wishful thinking, a loving reality as far as life and its possible meaning are concerned. I have woven into each other, turned around and adjusted early God texts by Rilke from his period in Berlin Schmargendorf. But: instead of God, the word 'tango.' Instead of God, the remote city. Instead of genitive, imperative. Instead of a picture in a picture, a picture – a gesture, a 'monologino,' a scene. Berio's Folk Songs formed an inner invoication, a wakening call for the approximately 10-minute piece. It may be played lightly. It should be easily playable. Play and immediately (!) feel and interpret. The tempo is always there in order to be immediately abandoned, to let go, to feel togetherness. No fear of couting and counting errors, or of the aesthetic patriarchy. No. Everything frank and free. A good mood. In love. In good air. Against worry.†–Jan Müller-Wieland.
SKU: HL.14035485
ISBN 9788759877807. Danish.
Walden for wind quintet was written in 1978 and commissioned by the Funen Wind Quintet. The title is taken from the American philosopher and poet Henry David Thoreau's novel from 1854 about living in the woods, which Thoreau did for two years. His stay there was an experiment, an attempt to strip away all the artificial needs imposed by society and rediscover man's lost unity with nature. In that particular sense his novel is a documentation of social inadequacy and a work of poetry (Utopia) as well. All thought Thoreau himself never completed any actual social analysis he was way ahead of his own time in his perception of the economy and cyclic character of Nature, today knownas ecology. His ideas are particularly relevant now that pollution caused by society has reached alarming proportions. Walden was written in a style of re-cycling and new simplicity. A lot of superfluous material has been peeled away in order to give space to different qualities such as identity and clarity. Various layers are encountered in the quintet such as the organic (growth, flowering, Decay), concretism (mechanical patterns) and finally the descriptive (distant horn calls and other ghost-like music of the past enter our consciousness like a dream). Walden consist of four movements. In 1995 another version for reed quintet was written to the Calefax Reed Quintet. Hans Abrahamsen.
SKU: HL.50495737
ISBN 9788875925352. Italian.
IL SUONO IL SOGNO E IL CHIARORE DELL'UTOPIA.
SKU: BT.DHP-0870089-020
This piece was commissioned by the Dutch province of Groningen for the celebrations commemorating the liberation festivities in 1987. In the composition, the dream of a world without war is symbolized. It is the first composition in a series in which Jacob de Haan combines concert music with pop music in a style, which reminds one of film music. Later compositions in which he has reaped much success with the same formula in style are Oregon, La Storia and Utopia.Dit werk componeerde Jacob de Haan in 1987 in opdracht van de provincie Groningen. Aanleiding was de Bevrijdingsdag. De muziek symboliseert de droom van een wereld zonder oorlog. Het is het eerste werk uit een reeks waarin Jacob deHaan amusementsmuziek en serieuze muziek vermengd tot een muziekstijl die aan filmmuziek doet denken.Dieses Werk komponierte Jacob de Haan 1987 im Auftrag der niederländischen Provinz Groningen anlässlich des Befreiungstages. Die Musik symbolisiert den Traum von einer Welt ohne Krieg. Es handelt sich um das erste Werk einer Reihe, in welcher Jacob de Haan Unterhaltungsmusik und ernste Musik zu einer Stilart vermischt, die an Filmmusik erinnert. Free World Fantasy (“Fantaisie du monde libreâ€) symbolise le rêve que nous chérissons tous : celui d’un monde sans guerre et sans haine. Dans cette composition, Jacob de Haan combine le style classique une rythmique récurrente issue de la musique pop pour créer un genre proche de la musique de film. Une fresque musicale qui sonne comme un appel la paix. Jacob de Haan compose questo brano nel 1987 su incarico della provincia olandese di Groningen per celebrare il giorno della liberazione. La musica simboleggia il sogno di un mondo senza guerre. Free World Fantasy è il primo brano di una serie firmata da Jacob de Haan, nella quale il compositore olandese mischia sapientemente musica da intrattenimento a musica più seria, in uno stile che ricorda la musica da film.
SKU: HL.14035484
ISBN 9788759871454. 10.25x14.5x0.463 inches. Danish.
SKU: CL.012-4733-01
SKU: BT.DV-10226
SKU: HL.44002241
UPC: 073999022414. 6.75x10.5 inches.
SKU: HL.49046511
ISBN 9783795798970. UPC: 840126936490.
The new edition of Bernd Alois Zimmermann's writings, supplemented by photos and comments, contains the composer's best-known texts: self-reflections, thoughts on his own work and references to it in older music, explanations of his much-discussed philosophy of time, reflections on film, ballet, jazz and a total work of art utopia beyond the soldiers, newspaper articles, hearty polemics and an extensive radio play about the agelessness of an epoch-spanning Ars nova.
SKU: CL.014-0126-00
Note: This is a reprint from a vintage publication of 1937. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
SKU: HL.50583469
SKU: YM.GTL01096489
ISBN 9784636964899.
CD matching score for their 3rd album SOIL released on their 10th memorial year.1. message; 2. My HERO; 3. Brain sugar; 4. Utopia; 5. Milestone; 6. Password; 7. Alien; 8. Kitchen; 9. Galapagos; 10. memory lane; 11. shine; 12. Squall.