Matériel : Conducteur et Parties séparées
SKU: PR.41641613L
UPC: 680160642199. 11 x 17 inches.
On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.
SKU: PR.416416130
UPC: 680160642182. 9 x 12 inches.
SKU: HL.49045911
ISBN 9781540030016. UPC: 888680753702. 9.0x12.0x0.448 inches.
Scenario:Th e cellist finds themselves in a strange environment where everything they do is mimicked by five other instrumentalists. The cellist tries out various sounds and figures in this unfamiliar sonic world, making things up as they go and listening to the result. The cellist eventually finds a soulful aria (Meme 3), and as the aria becomes more impassioned, the imitators get better and better at predicting what the cellist is going to do, eventually singing right along with the cellist as equals, subsuming the cellist into their sound and then suplanting the cellist in the leadership position. A fight/dialogue ensues, and as the cellist gradually regains their role as the primary voice, the clarinet emerges as the principal outlier/antagonist, only re-joining the task at hand with the piece's final note.- Andrew Norman.
SKU: UT.LB-19
ISBN 9788881094875. 5.90 x 8.26 inches.
Antonio Eximeno (Valencia, 1729 - Roma, 1808) - filosofo, matematico, letterato, musicologo - godette in vita di una breve ma intensa notorieta per la sua polemica contro la tradizione teorica del <>. In questa polemica ebbe, tra gli altri, un antagonista di grande prestigio, il francescano Giovanni Battista Martini; ma raccolse anche il consenso di Niccolo Jommelli ed altri autorevoli teorici e compositori italiani, e adesioni significative anche in Francia e in Inghilterra, dal Journal des Scavans alla Monthly Review. Poi, cambiati in un rapido giro di anni il clima culturale e il gusto musicale, le questioni affrontate da Eximeno persero di attualita e la sua polemica fu dimenticata.La notevole fortuna editoriale che e stata riservata in anni recenti al primo trattato musicale di Eximeno va accreditata in Italia ad alcuni studiosi della scuola di Enrico Fubini, e lo stesso Fubini ha riservato attenzione al filosofo valenciano nei propri studi di estetica musicale. Tuttavia egli ritiene rilevanti in Eximeno solo le considerazioni sull'identita originaria di linguaggio e musica esaurendone il contributo estetico in una sostanziale acquiescenza alle teorie di Rousseau e anzi indicando il filosofo valenciano come <>. Da noi - a parte i contributi di Gino Stefani - questa indicazione di Fubini ha polarizzato gli studi e le scelte editoriali su un tema che in realta ha un'importanza marginale nella vastissima opera estetica di Eximeno, cosi come marginale e anche fortemente polemico e il suo rapporto con Rousseau. Di nuovo un pregiudizio critico vizia l'interpretazione. L'inconfessato ontologismo che sottende l'approccio estetico di Fubini ai problemi della musica anche nel caso di Eximeno lo induce a escludere dall'indagine la molteplicita di elementi e di interessi che confluiscono nella filosofia musicale del filosofo valenciano e dettano le sue riflessioni sulla poetica. A questa riduzione chirurgica il presente studio cerchera di opporre una considerazione piu ampia, anche se necessariamente non esaustiva, dei temi e dei testi eximeniani, nella convinzione che nella vicenda teorica di Eximeno, ben al di la dell'angusta problematica isolata da Fubini, si esprima la reazione a una crisi di valori non solo estetici, senza comprendere la quale il giudizio sul suo pensiero estetico non ha fondamento.
SKU: BT.DHP-1064019-120
9x12 inches. English-German-French-Dut ch.
The theme of this work is the history of the town of Grafenrheinfeld (Bavaria, Germany) in the twentieth century, a town that is now mainly associated with its nuclear plant. The German word for this is Kraftwerk, which can be divided into the words Kraft (power) and Werk (work). In this composition, it is a metaphor for the ?work? that can be realised through ?power? in a negative way (war) and in a positive way (reconstruction). Musically speaking, power also plays an important role in this work, as opposed to vulnerability, the sense of loss and the insecurity about the lost identity. Based on the text of Lied der Franke ?Kraftwerk? is a powerfully descriptive work thatwill add energy to any concert. De geschiedenis van Grafenrheinfeld (Beieren, Duitsland) in de twintigste eeuw vormt het thema van dit werk. Deze plaats wordt nu voornamelijk geassocieerd met zijn kerncentrale. Het Duitse woord hiervoor is Kraftwerk, datje kunt onderverdelen in de woorden Kraft (kracht) en Werk (werk). In deze compositie is het dan ook een metafoor voor het ‘werk’ dat door ‘kracht’ wordt gerealiseerd, in negatieve zin (oorlog) en in positieve zin (wederopbouw). Krachtspeelt ook in muzikaal opzicht een belangrijke rol in dit werk, geplaatst tegenover kwetsbaarheid.Der Titel Kraftwerk steht zunächst für ein Kraftwerk im wörtlichen Sinn, beschreibt aber zugleich die Bedeutung der einzelnen Begriffe Kraft und Werk im positiven und negativen Sinn. Krieg, Zerstörung, Verzweiflung und Trauer, aber andererseits auch Frieden, Hoffnung, Wiederaufbau, Zuversicht und Sorglosigkeit sind die Bilder und Gefühle, die Jacob de Haan in seiner Komposition heraufbeschwört. Ein kontrastreiches Werk, das bleibenden Eindruck hinterlässt!Le nom de la ville de Grafenrheinfeld en Bavière est étroitement associé la centrale nucléaire qu’elle abrite. Le terme Kraftwerk est constitué des mots Kraft (la puissance, la force) et Werk (centrale, travail, oeuvre). Jacob de Haan s’appuye sur la polysémie du mot Werk pour créer deux atmosphères musicales antagonistes : la puissance d’une centrale nucléaire qui peut se révéler négative pour l’homme et la puissance d’une oeuvre ou d’un travail constructif dans un environnement positif. Une oeuvre surprenante.La citt tedesca di Grafenrheinfeld in Baviera è strettamente legata alla centrale nucleare che essa ospita. Il termine Kraftwerk è costituito dalle parole Kraft (forza, potenza) e Werk (centrale, lavoro). Jacob de Haan si appoggia sulla polisemia della parola Werk per creare due atmosfere musicali antagoniste: la potenza di una centrale nucleare che può rivelarsi negativa per l’uomo e la potenza di un’opera o di un lavoro costruttivo in ambiente positivo. Un brano sorprendente.
SKU: HL.48025411
UPC: 196288202288.
The composer states that her Cello Concerto is antithetical to her other concertos. “While in the concertos for violin and piano, in the Double Concerto, and in my new sheng concerto I was seeking to merge the solo instrument and the orchestra into a single virtuoso super-instrument, here itÂ’s all about the competitive tension between the soloist and the orchestra. The 'aura' of the cello was the initial nucleus and forms the basis of the music, so the whole structure of the piece is thus 'carried' by the cello. However, the orchestra responds to it in an antagonistic way. This antagonism is much stronger than in traditional Classical-Romantic concertos; one could even speak of a 'psychological warfare' between soloist and orchestra. In my cello writing, I often ask the soloist to disguise the nature of the instrument so the perception can be blurred. I try to explore the boundaries of the celloÂ’s expressivity and to broaden the definition of 'expression'. Therefore I also use special playing techniques and call for unusual timbres, including noises and rasping sounds. For me, this actually serves the expressivity by suggesting new meanings. The unique artistry of Alban Gerhardt inspired me immensely. Not only his solo part but also the orchestral parts are often characterized by extreme virtuosity, by the idea of the instrumentalists being pushed to the edge.â€.
