SKU: HL.44001146
UPC: 073999011463. 6.75x10.5 inches.
SKU: BT.DHP-1063759-040
9x12 inches. English-German-French-Dut ch.
Eventide (Song of Liberation) has as its theme the European liberation from the Second World War. After a solemn introduction, one hears the melody of the hymn Abide with Me, which was sung frequently during the war. Variations on the theme follow, finally leading to the magisterial conclusion that represents the ultimate liberation. Bring a bit of nostalgic history to life with this stirring composition. Eventide heeft als thema de bevrijding van Europa aan het eind van de Tweede Wereldoorlog. Na een gedragen inleiding komt de melodie van de in oorlogstijd veel gezongen hymne Abide with Me aan bod. Dan volgen er variatiesop dit thema, die ten slotte uitmonden in het magistrale slotthema, dat de uiteindelijke bevrijding verbeeldt.Diese Komposition hat die Befreiung Europas am Ende des Zweiten Weltkrieges zum Thema. Nach einer feierlichen Einleitung erklingt die Melodie des Liedes Abide with Me von William Monk, das während des Krieges viel gesungen wurde. Variationen über das Thema münden zuletzt in einen eindrucksvollen Schluss, der für die endgültige Befreiung steht. Ein eindrucksvoller musikalischer Appell für Frieden und Freiheit, der beim Publikum noch lange nachhallen wird.
SKU: BT.DHP-1063759-010
SKU: BT.WH29767
Latin.
The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution. The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.
SKU: HL.14035517
UPC: 884088812454. 8.5x11.75x0.067 inches.
Composer's Notes: The last few years I have become increasingly involved in some peculiar mathematical formulas called “fractalsâ€. These formulas, used in the fast growing field of “Chaos theoryâ€, are relatively simple, but they generate fascinating and surprisingly “organic†patterns when shown graphically on a computer screen, or played as music. One should think that such a mathematical approach would lead to sterile and 'theoretical' music. The sound world of Stonewave, however, is not one you would associate with math books. The steady, insistent pulse, and the use of sequences put squarely up against each other or divided by long rests suggest an invisible ritual. A ritual for what? Well then, let it be a ritual for the exorcism of some 'evil spirits' which now ride our part of the world under the name of Liberalism, making people the servants of the Market Forces instead of vice versa. Stonewave is therefore an incantation, as it seems that only divine forces can save European culture from a political system that proclaims the Jungle Law as the guiding principle in social and cultural life. Rolf Wallin.
SKU: HL.14000916
ISBN 9788759859179. 12.0x16.5x0.538 inches. English.
Stratifica tions was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts, at the same time the polyphony, the presence of several simultaneously sounding layers, is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and other material which give a peculiar set piece-like effect inthe sound picture. The new simplicity details are here woven together in a new kind of complex whole. Stratifications begins with a series of concretistic masklike pictures of the music. It is like seeing lantern slides. But this fictive form crackles and the music gets attentive and real. The music is in a night-mare condition, where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising in triumph.
SKU: HL.44001144
UPC: 073999011449. 6.75x10.5 inches.
SKU: BT.PWM5363020
The Third Symphony occupies an special place in the evolutionary process of Szymanowskis style. The Symphony The Song of the Night, Op. 27, is a setting of the poem of the same title, from the second divan of Mawlana Jalal-ad-din Rumi, for tenor solo, mixed choir and orchestra. It was completed in the summer 1916. Szymanowskis interest in oriental music at this period is not so much , as far as the Third Symphony is concerned, an attempt at some formal stylisation of eastern music, but rather an indication of his search for some mode of expression which would best reflect the conflicts of his aesthetic and artistic ideas. It was the direct contact made with the art of the Grecian and Arabic worlds during his travel to Sicily and North Africa in 1911 and 1914 that provided the external stimulus for this interest. The Third Symphony can be classed with those symphonies for chorus and solo voices so often favoured by the neo-romantic and expressionist composers. It is written in a free ternary form, the thematic material being the basic unifying structural element, which imparts a conciseness to the form, and retaining the function despite the significant changes that occur in the melodic character of the music. The texture is polymelodic, and a score reveals a masterly interweaving of the multiplicity of parts, melodic lines and patterns of sound. This symphony is consummation of all Szymanowskis mastery in instrumentation and colour, and a superb study of orchestral polyphony. Here, Szymanowski liberates himself from the rigid relations of the functional harmonic system. In the place of tonal progressions, he shifts chromatically from one sound lane to another, of which the smallest units are chords made up of tritones and seconds, using only a free intervallic structure, far more remote in Szymanowski from the dominant centralistic harmony then Debussy. In style, the Third Symphony belongs to the neo-romantic period, if this can be broadly defined as including modernistic and expressionistic trends, and to musical impressionism. (based on the Preface to the ''Works'' by Teresa Chyli ska, PWM 1985).
SKU: BT.DHP-0850028-015
This legendary piece by Jacob de Haan has become a standard in the international concert band repertoire. A timeless piece of music! Dit legendarische werk van Jacob de Haan is een klassieker binnen het repertoire geworden: een tijdloos stuk muziek. Das in Song of Liberation zitierte Lied Abide with You war besonders während des Zweiten Weltkriegs populär. Das Thema Krieg und Befreiung, das Jacob de Haan in diesem Werk mit Kultstatus vertonte, ist jedoch zeitlos. Après plusieurs variations sur le thème, lâ??Å?uvre se clôt sur un finale majestueux et grandiose symbolisant la liberté retrouvée. Ce morceau légendaire de Jacob de Haan sâ??est imposé comme le standard du répertoire international pour orchestre dâ??harmonie. Une Å?uvre intemporelle !
SKU: MN.20-454
UPC: 688670204548.
An original composition which incorporates the TE DEUM plainchant from the Liber Usualis. The composer establishes a majestic dialog between the brass quartet and the organ that captures the inherent beauty in the plainsong melody.
SKU: BT.DHP-1064075-010
John Blanken composed his traditional style concert march Liberty was composed in 2004. The first performance took place during a concert in which the theme was the struggle for independence and during the concert the audience sang the song of independence from large banners situated on both sides of the both. This grandiose yet lyrical march will open your concert in a truly liberating manner. Liberty is gecomponeerd in een traditionele marsvorm. Het eerste deel bevat naast een beweeglijk thema een aansprekende bassolo. Na de bassolo komt het eerste thema weer naar voren en wordt, na een krachtige afsluiting, hettrio ingeleid. Een lange, lyrische melodie in de tenorgroep laat vervolgens het publiek even achteroverleunen en genieten. Ze wordt echter bruusk onderbroken door een wilde fortissimopassage, gekenmerkt door een lange toonladderdie door het hele orkest heen loopt. Deze mondt uit in een welluidend Grandioso met een herhaling van de lyrische melodie, omspeeld in de discant, waarmee Liberty besluit.Libert y ist ein kontrastreicher Konzertmarsch in traditioneller Form. Der erste Teil enthält neben einem lebhaften Thema ein anspruchsvolles Bassolo. Das ausgedehnte lyrische Trio enthält fast komplett neues thematisches Material und bildet so einen interessanten Gegensatz zum ersten Teil. Ein weiterer Kontrast entsteht durch eine abrupt einsetzende, wilde Fortissimo-Passage, die durch das ganze Blasorchester gereicht wird, bevor ein reizvolles Grandioso den Marsch beendet.Libert y est une marche contrastante de forme traditionnelle. La première partie développe un thème pétillant qui se fond dans un solo de basse solidement charpenté. Le trio, plus lyrique, expose quelques nouvelles idées formant un contraste marqué avec le passage d’ouverture. La musique s’enflamme pour un énoncé en fortissimo qui chemine travers l’ensemble de l’orchestre puis cède sa place un thème Grandioso, dernier épisode de l’œuvre.
SKU: CA.1224019
ISBN 9790007246532. Language: German.
The basis for the children's musical Israel in Agypten is the Biblical report of the liberation of the Israelites from Egyptian slavery by Moses. The work contains 12 songs with catchy melodies and texts suitable for children. In the arrangements, elements of pop, jazz, and classical music are joined. The scenes are supplied with many staging directions. The musical is fun for children and makes Biblical stories come alive. The music is funny, lively, and very catchy, so that the children bring home a new hit stuck in their ear or on the lips after every rehearsal. (Wurtt. Bl. f. Kirchenmusik 6/00) The children's musical Israel in Agypten is a successful piece of musical theatre ... Thomas Riegler shows that he has a sense for theatrical effect, not only with his music, but also with his text. The dialogs are funny, but never hard to learn. (Musik und Gottesdienst 3/00). Score and parts available separately - see item CA.1224000.
