4 Centuries Orchestra Score

Composer's Note: Quilting co-commissioned by the BBC Symphony Orchestra and the Los Angeles Philharmonic is my first stand alone work fororchestra and is loosely inspired by the American tradition of quilt making. I composed Quilting while living most of last year in Paris. During my time there I thought a lot about what it means to compose symphonic music as ayoung American in the 21st century when so many of the many masterworks which are programmed year in and out by orchestras across the country are European. I considered which artistic traditions defined the American 19th-century.I began to think of the American crafts-tradition of quilting as a foil to the high-art tradition of European orchestral composition. As the score for my new work began to take shape I started thinking about themanuscript itself as an object its vertical and horizontal planes create a kind of patterned geometry of their own. Visually the way a musical score is woven together like patchwork brought to mind quilts and the great Americantradition of quilting. I imagined about how conducting an orchestra can feel like stitching a piece together or sewing together a large number of musical ideas and musicians into a coherent and transcendent whole. Quilting was an integral part of American vernacular in the 18th and 19th centuries the African-American quilting tradition is especially fascinating and the quilts tell the stories of the women and communities who made them.The names of the quilt patterns themselves can have their own sense of narrative: 'jacobs ladder' 'drunkards path' 'solomon's puzzle' and (my favorite for its relevance to this piece) 'the road to California.' -Bryce Dessner

Symphony No. 9 in D minor Op. 125 Facsimile Score. With his ninth symphony, Beethoven ventured into new musical dimensions. In the final movement, soloists and choir join forces with the orchestra and Schiller?s ?Ode to Joy? becomes a global aspiration, a declaration: ?Alle Menschen werden Brüder ! / All mankind becomes brothers.? In his commentary the great Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, a renowned editor of Beethoven?s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer?s working process.,br>Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann who is the Director of the Music Department at the Staatsbibliothek zu Berlin traces this story. In 1972 the main theme of the last movement was chosen by the Council of Europe as the European anthem and in 1985 it was adopted by the European Community as its official anthem. In 2001 the manuscript was listed in UNESCO?s Memory of the World Register. For the first time the facsimile presents all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. The first edition (2010) was awarded with the German Music Edition Prize ?Best Edition? 2011.

This clarinet concerto was premiered in 1997 as part of the celebrations of the Year of Ninian one of the founding fathers of Christianity in Scotland. St Ninian the first bishop of Whithorn was believed to have arrived in Galloway in the south-west of the country in 397 nearly two centuries before St Columba landed on Iona. The three movements are based on three of the so-called Miracles of Ninian strange and evocative tales about the saint and his followers documented in a Latin poem written a few centuries after his death. As well as being a concerto the work is therefore also a collection of tone-paintings which give an impression of these ancient tales.

Leichte Ensembleliteratur Für Den Unterricht-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments.?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge ofthe individual traditions in question and naturally he offers plenty of information on performance practice.The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.

For String Sextet (2 Violins 2 Violas 2 Cellos Bass) set of parts.Mozart?s Sinfonia Concertante for Violin and Viola K. 364 (320d) is his only complete surviving work in this genre. He wrote it in 1779 after returning from Paris and Mannheim.For two decades it was known only in a few copyists? manuscripts. The first edition did not appear until 1802. The work achieved great popularity that same year particularly the arrangements for Piano four-hands and Piano trio.This arrangement for String Sextet dating from 1808 is interesting not only for its unusual scoring but also for the way the two concertante instrumentsinteract with the other strings.This edition revives this arrangement after almost two centuries drawing primarily on the sole surviving source: the first edition in parts published by the Vienna Stamperia Chimica in 1808.The editor Christopher Hogwood recounts the history of the work and the particulars of the arrangement in a trilingual preface (Eng ./ Ger./ Cz .) and a critical report. Barenreiter's new edition takes into account both the original print and the text from the ?New Mozart Edition?.New edition of a historical transcription for String Sextet (1808)Available in print again after almost two centuriesAlso suitable for Chamber OrchestraDetailed preface and critical report (Eng./Ger./ Cz .)Includes facsimiles

This beautiful folk melody will capture the hearts of students and audiences. Originally scored for large orchestra, this string arrangement captures the essential qualities often heard in the English style of chamber music for strings from the late nineteenth and early twentieth centuries. Holst's melody, with its simple pentatonic folksong theme, receives the kind of mystical transformation we often associate with British composers' treatments of their indigenous wellspring-the folksong. All sections share in the melodic themes while passages for a quartet of soloists add textural interest. (4:15) / Orchestre A Cordes

A 16-minute orchestral tribute to the city of Chicago commissioned by the Serge Koussevitzky Foundation as part of the composer's residency with the Chicago Symphony Orchestra and first performed in 2007.The title draws on the fact that the Great Chicago Fire of 1871 devastated large swathes of the city, leaving only a few buildings standing in the Centre. The combination of these relics alongside the stunning skyscraper architecture of the late 19th and 20th centuries is an illustration of Chicago's ongoing powers of reinvention. The tough grandeur and true grit of this modern metropolis finds parallels in Turnage's score. / Orchestre

Par HAYDN FRANZ JOSEF. The newly-built opera house in the park at Schloss Eszterháza was opened in September 1768 with Lo Speziale . The work has combinations of roles and the complications typical for opera buffa . The two youths Mengone and Volpino complete for the affections of Grilletta , the pretty ward of the strange apothecary Sempronio . But the apothecary would prefer the girl for himself. In the end, true love triumphs. Unfortunately, the score of Lo Speziale has not survived the centuries in a complete form. Parts of the music of the third act are lost. The corresponding text has been taken from the libretto. The appendix includes a second version of aria #7, which has survived in Haydn's autograph . The vocal score is based on the Urtext of the corresponding volume of the Haydn Complete Edition (XXV/3, 1959) and the Critical Commentary./ Répertoire / Chant

This work was written at the pivotal point of both two centuries and two millennia. With its hopeful melodies and triumphant parts in the brass section the opening pictures the dawning of a new era of great expectations characterized by the high speed of communicating all over the world which is one of the most important aspects of life in the 21st century. This is achieved by musical themes being rapidly transferred from one musician to another. In this vortex of information and fast business transactions the sense of individuality threatens to become extinct. At this point Brosse silences the orchestra (a symbol of society) and draws attention to those peoplewho are less fortunate than most of us. This focus on other people culminates with an orchestral climax in which all powers come together with a feeling of euphoria.

Paperback-This new composition by Mack Wilberg is a perfect example of the beauty of simplicity. Combining words from the eighteenth and twenty-first centuries the text of Thou lovely source of true delight portrays an affectionate yet powerful sense of reverent praise and wonder. Wilberg's music is the ideal match with an original tuneful hymn melody running throughout amid a variety of choral textures and dynamics all underpinned by affecting harmonies in the accompaniment.For SATB and organ or orchestra.