Matériel : Octavo
SKU: FG.55011-526-2
ISBN 9790550115262.
The poetry of Emily Dickinson has been one of the sources of inspiration for Kai Nieminen (1953-). Piano trio Reflecting Landscapes was inspired by Dickinson's poem A bird came down a walk, a same poem that also gave name to a piece for viola and piano by Toru Takemitsu. Takemitsu being one composer that Nieminen helds in high esteem. Especially calm, meditative athmosphere at the beginning of the piano trio has much that reminds listener from Nieminen's Japanese collegue. The tolling chruch bell -like motives reminds the composer from the death of his father, that occurred at the time of the composition of the piece. Later in the piece, bird song -like motives emerge, like birds in the calm summer night somewhere in the north. The piece was commissioned by Trio la Rue and they gave the first performance at Saaksmaki Soi -festival 6th July 2011. The poetry of Emily Dickinson has been one of the sources of inspiration for Kai Nieminen (1953-). Piano trio Reflecting Landscapes was inspired by Dickinson's poem A bird came down a walk, a same poem that also gave name to a piece for viola and piano by Toru Takemitsu. Takemitsu being one composer that Nieminen helds in high esteem. Especially calm, meditative athmosphere at the beginning of the piano trio has much that reminds listener from Nieminen's Japanese collegue. The tolling chruch bell -like motives reminds the composer from the death of his father, that occurred at the time of the composition of the piece. Later in the piece, bird song -like motives emerge, like birds in the calm summer night somewhere in the north. The piece was commissioned by Trio la Rue and they gave the first performance at Saaksmaki Soi -festival 6th July 2011.
SKU: SU.91480790
SATB Chorus & Organ Duration: 6' Composed: 2017 Published by: Subito Music Publishing Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com. YouTube:.
SKU: FG.55009-539-7
ISBN 979-0-55009-539-7.
One of the finest Finnish chamber works of recent years involving a clarinet is Mikko Heinio's Treno della notte for clarinet, cello and piano (2000). The composer says of his work: I wanted to write a long, fairly fast-moving composition proceeding without a break in which the moods are at least to some extent dream-like, nocturnal. May 'Treno della notte', the term for a night train in Italian, be a tribute to my much-admired Federico Fellini and Marcello Mastroianni, who in the film Citta della donne (City of Women) falls asleep on a train and is led by a representative of the stronger sex along the most fantastic paths. During a journey lasting a good 17 minutes the listener has time to proceed through 12 connected carriages: the composition has five calm, melodic sequences and four rhythmically dashing dances. It begins with an Introduzione, has a Transitio in the middle and ends with a Coda. In addition to its nocturnal shades, the Heinio work is of sizzling virtuosity, hot Latin rhythms and glowing, sustained melody. The clarinettist plays both a normal B flat instrument and a bass clarinet, thus enriching the timbral scale even further. Heinio does not expect the clarinettist to improvise or to master novel techniques, but otherwise the clarinet part is as challenging as many a concerto.
SKU: BT.DHP-1012559-030
Albion was commissioned by the Swiss Brass Band Federation as the test piece for the National Brass Band Championships of England, Belgium, The Netherlands, and Switzerland in 2001, and for Norway in 2002. The composition is dedicated to Markus Bach.Albion, along with Excalibur and Stonehenge, is the third major piece for brass band in which Jan Van der Roost took his inspiration from the British Middle Ages. Although the work is not based on an actual story there are unmistakable epic elements found in this symphonic poem. The piece paints a picture of the conquest of Albion (the earliest known name of the British Island), in which the listener is taken back to the timeof King Arthur and his legendary Knights of the Round Table. Albion ist neben Excalibur und Stonehenge das dritte große Werk für Brass Band, bei dem sich Jan van der Roost durch das englische Mittelalter inspirieren ließ. Obgleich sie nicht auf einer konkreten Geschichte beruht sind die erzählerischen Momente in dieser Sinfonischen Dichtung nicht zu übersehen. Der Anfang gibt einen Einduck von der Eroberung Albions (Albion ist der erste überlieferte Name der britischen Insel); der Zuhörer taucht dabei in die Zeit von König Artus und seinen legendären Rittern der Tafelrunde ein.Après Excalibur et Stonehenge, Albion est la troisième œuvre majeure pour Brass Band de Jan Van der Roost inspirée par l’Angleterre du Moyen ge. Bien que l’œuvre ne soit pas construite autour d’une histoire précise, ce poème symphonique a toute l’ampleur d’une épopée. L’ouverture de l’œuvre semble dépeindre la conquête d’Albion (premier nom connu de l’Angleterre), transportant l’auditeur l’époque du roi Arthur et de ses légendaires chevaliers de la Table Ronde. Trois groupes de cornets dispersés au sein de la formation et trois tambours différents reflètent, en autant de tonalités et de tempos, les périodes de guerre qui plongent l’Angleterredu début du Moyen ge dans la tourmente. Des accords sombres et majestueux, exposés dans le registre grave, créent un contraste et donnent au son d’ensemble un caractère trouble et confus. Lorsque les tambours se retrouvent dans un même rythme, l’ensemble de la formation interprète pour la première fois l’unisson le Thème d’Albion.Un allegro energico plein d’agitation apporte soudainement plus d’élan et de dynamisme. Des thèmes virtuoses et guerriers se succèdent, donnant au passage un caractère tumultueux. Cette suite de thèmes se conclut également avec le Thème d’Albion, soutenu cette fois-ci par une structure harmonique plus complexe. S’ensuit un passage intermédiaire calme et serein, permettant plusieurs solistes d’exploiter et de révéler leurs qualités musicales. Après tout, Albion n’a pas connu que des périodes de troubles et de misère. Et le roi Arthur n’est-il pas considéré comme celui qui a apporté paix et stabilité au pays ? Cette lente succession de fragments en solo progresse avec une fluidité presque évidente vers un passage où l’orchestre interprète en chœur les accords majestueux des mesures d’ouverture de l’œuvre. Le Brass Band sonne comme un orgue et le Thème d’Albion vient tout naturellement conclure cette oasis de paix retrouvée. Dans le finale impressionnant, plusieurs éléments thématiques.
