From this Viewpoint

SKU: HL.50600649

ISBN 9790080150009. UPC: 888680895518. 10.25x13.5x0.622 inches. Hungarian, English. Gyorgy Kurtag.

In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who had been his student in earlier years and who, even today, is one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades; however, since then he has used this collection - expanded over 32 years since by Kurtág - whenever he plays pieces from Games in concert. Since the time of this 1974 concert, as he writes: 'I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.' The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score. The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.

SKU: HL.4006660

UPC: 840126927078. 9.0x12.0x0.061 inches.

This exciting work was conceived as a musical portrait from the viewpoint of a lone ancient warrior, determined and focused on achieving victory in battle. Providing a foundation throughout is a relentless rhythmic pulse and driving ostinato. The meter of 7/8 provides a dramatic sense of urgency as various textures and moods are developed similar to the ebb and flow of battle. The piece concludes with a victorious major chord with the rhythmic ostinato driving to the very end.

SKU: PR.41641423L

UPC: 680160602094. 11 x 14 inches.

Colonnade is inspired by Albanys majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work inspired by a building I had not yet seen. This problem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to see and tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In the end, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the buildings rotunda, which contains a series of quaintly outdated allegorical paintings): the exterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino. For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place no standpoint or viewpoint anywhere in the universe from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective a walk along the colonnade, for instance the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically they shrink, grow, become closer, and then further apart. Further, the detail of the buildings facade behind the colonnade shifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure suggestive of a column dominates. The iterations of this elastic, evolving figure are interspersed with other music suggestive of the buildings facade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino, of one of the buildings largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling. World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.

SKU: BR.BV-396

ISBN 9783765103964. 6 x 8.5 inches. German.

At the instigation of Daniel Barenboim, the musicians of the Staatskapelle Berlin have been lending their talents to Berlin's Musical Kindergarten since 2005, thus integrating classical music into the everyday lives of two- to six-year-olds. Music thus becomes a natural expressive form and trains the ears, along with perception and social communication, every day (thus Barenboim in his introduction). Andreas Doerne examines this fascinating model from a pedagogical viewpoint in order to open up further perspectives for a holistic education through music. An afterword by Pamela Rosenberg and Linda Reisch rounds off this little book.

SKU: HL.50580815

ISBN 9788875929183. 6.5x9.25x0.93 inches. Italian.

In 2008, the whole Studio di Fonolgia di Milano della Rai - including equipment and furniture - was completely reconstructed inside the XXXVI room of the Museum of Musical Instruments at the Sforza Castle in Milan. For the first time, all the productions of the Studio (including not only electronic music compositions but also original soundtracks for radio programmes) were systematically catalogued and made available in this publication.The book contains several updates to the old contributions. In addition, it presents three new essays that provide an interesting reflection on the the preservation of electroacoustic music and its instruments, as well as documentingrecent research that led to the realization of the sounds and the physical interfaces that embody the original instruments of the Studio.The second part of the book contains the catalogue of the musical production at the Studio enriched with a great deal of new data, as well as part of the video productions whose soundtracks were produced or edited at the Studio.This new edition will provide a complete and valuable tool to anyone looking for a better understanding, from both the technical and the musical viewpoint, of an extremely dynamic - if not contradictory - period of Italian and European music history: a very short moment after all, less than thirty years long.

Als 2008 das beruhmte Studio Di Fonologia des Mailander Radios RAI Milano, 1954 von Bruno Maderna und Luciano Berio gegrundet, ins Musikinstrumentemuseum des Castello Sforzesco umzog, ergriff man die Gelegenheit, nicht nur die elektronischen Instrumente und Anlagen, sondern auch die dort entstandenen Aufnahmen zu katalogisieren und einem breiteren Publikum zuganglich zu machen. Das Buch enthalt im ersten Teil eine genaue Beschreibung der elektrotechnischen Anlagen und Instrumente mit vielen Abbildungen, im zweiten Teil den Katalog der Audio- und Videoaufnahmen.Die hier vorliegende neue Ausgabe gewahrt einen moglichst vollstandigen Einblick in die technische undmusikalische Entwicklung einer hoch dynamischen, wenn auch recht kurzen, Phase der italienischen und europaischen Experimentalmusik.

SKU: AP.12-0571521940

ISBN 9780571521944. English.

A Minibeast Christmas is a variation on the traditional Christmas story. It is told from a rather unusual viewpoint -- that of the minibeasts in the stable who find themselves the first to witness the miracle of Jesus' birth. Gentle humor, optional percussion and catchy unison songs characterize this lighthearted musical. Accompaniment CD, script, photocopiable lyrics and free license for the first performance* are included.

*conditions apply.

Titles: Buzz * Caterpillar Crawl * The March of the Ants * The Woodlouse Lament * Ladybird Ballad * Ladybird Ballet * The Star's Song * Close Your Eyes * The Butterfly Dance * Buzz (Reprise) * Finale.

SKU: HL.14021044

ISBN 9780711984813.

Roma, Amor, Labyrinthos for orchestra was commissioned by the Royal Philharmonic Orchestra and first performed on 2nd May 2000 at the Barbican Hall, London. The Independent, May 2000: Roma, Amor, Labyrinthus captures the composers recollections of Rome as a student in the late '50s under Goffredo Petrassi, to whom the work is dedicated... [this is] one of Sir Peter's most spectacular scores, evoking the might of the ancient city from a very personal viewpoint. Duration 43 minutes. Conductor's score and orchestral parts are available on hire.

SKU: GI.G-8462

ISBN 9781622771004. English.

The volume you are holding is a vivid testimony …to the value of examining this variety and dynamism from multiple, overlapping points of view …to the value of both realist and idealist voices …to the value of articulating wisdom. From the foreword by John D. Witvliet, Calvin Institute of Christian Worship Since the publication of the first volume of Readings in African American Church Music and Worship, public and academic interest in the music and worship in black churches has significantly increased. This second volume makes available the most recent scholarship on twenty-first-century developments and trends, through a representative number of articles, essays, and chapters written by brilliant musicians, authors, and theologians of our time. The list of contributors includes some of the finest emerging scholars, whose voices we will be hearing for years to come, as well as offerings from seasoned authors, whose research and writings are well regarded by peers and the worshiping community at large. The significant contributions—from names new and familiar—greatly broaden the field of study. The 43 chapters of this volume are divided into 7 categories: Worship and Liturgical Practices Perspectives on Praise and Worship Liturgical Theologies Hip Hop and/in the Church Proclamation of the Word Perspectives on Women and Gender Hymnody: Sound and Sense Insightful, thought-provoking, challenging, hopeful—this volume will be a source of knowledge, a stimulus for discussion, and a call to (re)consider the many and varied viewpoints of the African American church. Featuring the writings of: James Abbington, LaTrese Adkins, Sandra L. Barnes, Tuere A. Bowles, Ruthlyn Bradshaw, Michael Joseph Brown, Melvin L. Butler, James H. Cone, David Douglas Daniels III, Robert Darden, Leo H. Davis Jr., Valerie Bridgeman Davis, Michael Fox, Kenyatta R. Gilbert, Daniel White Hodge, Birgitta J. Johnson, Alisha Jones, Tammy L. Kernodle, S T Kimbrough, Jr., Cheryl A. Kirk-Duggan, Cleophus J. LaRue, Monica T. Leach, Tamura Lomax, Pamela P. Martin, Marvin A. McMickle, Monica R. Miller, Stephanie Y. Mitchem, Thomasina Neely-Chandler, Deborah S. Pollard, Luke A. Powery, Samuel D. Proctor, Teresa L. Reed, Braxton D. Shelley, Martha Simmons, Josef Sorett, Rodney A. Teal, Frank Thomas, Kathleen S. Turner, Kenneth C. Ulmer, Gayle Wald, James Melvin Washington, Ralph C. Watkins, Lisa M. Weaver, Melinda E. Weekes, Christina Zanfagna James Abbington is Associate Professor of Church Music and Worship, Candler School of Theology, Emory University, Atlanta, Georgia. He also serves as Executive Editor of the African American Church Music Series, published by GIA Publications, Inc.

SKU: BT.DHP-1206253-030

English-German-French-Dutch.

In 1989, the demonstration named the Baltic Way also known as the Baltic Chain— was held in the Baltic states of Estonia, Latvia and Lithuania by its citizens in a call for independence from the Soviet Union. On 23rd August 1989, some two million participants formed a human chain, hand-in-hand all the way from the Estonian capital of Tallinn its Latvian counterpart, Riga, through to the Lithuanian capital of Vilnius - six hundred kilometres long. It became the longest human chain ever created and turned out to be the final push needed for much sought-after independence. This historic event became the source of inspiration for this composition. The introduction of thefirst movement, ‘Struggle for Independence’, is based on a nocturne for piano by the renowned Lithuanian composer and painter Mikalojus Konstantinas iurlionis (1875-1911), thematic material from which has been incorporated throughout the whole composition. The melancholic beginning is followed by a powerful theme which reflects the resolve of the Baltic people. The sudden aggressive, dissonant chords and a dominant and—in rhythmic terms—contrary bass drum announce that the resistance is not going smoothly. Just for a moment, we hear the anthem of the Soviet Union in the lower brass, but this is relentlessly pushed to the background by the rest of the band playing the Lithuanian national anthem, ‘Tautiška giesm ’ (Lithuania, our homeland). The second movement, ‘Decades of Suffering’, echoes life under the Soviet Union's thumb. In the pursuit of independence, a peaceful protest is planned in which a human chain is formed across the Baltic states of Estonia, Latvia and Lithuania. This ‘Chain of Freedom’ is depicted in the final movement of the work.

De Baltische Weg (The Baltic Way) was een demonstratie van de bevolking van de Baltische staten die in 1989 plaatsvond als een roep om onafhankelijkheid van de Sovjet-Unie. Deze historische gebeurtenis vormde de inspiratiebron voor deze compositie. Van Vilnius via Riga naar Tallinn werd een zeshonderd kilometer lange keten van naar schatting twee miljoen mensen gevormd. Op 23 augustus 1989 gaven al die mensen elkaar de hand en werd De Baltische Weg de langste menselijke keten ooit. Het bleek de uiteindelijke opmaat tot de zo gewenste onafhankelijkheid. De inleiding van het eerste deel, ‘Struggle for Independence’, is gebaseerd op een nocturne voor piano van devooraanstaande Litouwse componist en kunstschilder Mikalojus Konstantinas iurlionis (1875-1911). Het thematische materiaal van deze nocturne is door de hele compositie heen verwerkt. Na het melancholische begin volgt een krachtig thema, waarmee de strijdbaarheid van de Baltische bevolking wordt uitgebeeld. De plotselinge agressieve dissonante akkoorden en een dominante en ritmisch gezien tegendraadse grote trom laten horen dat het verzet niet eenvoudig verloopt. Even klinkt het begin van het volkslied van de Sovjet-Unie in het lage koper, maar dat wordt door de rest van de band onverbiddelijk naar de achtergrond verwezen door het Litouwse nationale volkslied ‘Tautiška giesm ’ (Litouwen, ons vaderland). In deel twee, ‘Decades of Suffering’, wordt het leven onder het juk van de Sovjet-Unie verklankt. In het streven naar onafhankelijkheid worden plannen gemaakt om als vreedzaam protest tegen de onderdrukking een menselijke keten te vormen over de wegen van de Baltische staten Litouwen, Letland en Estland. Deze ‘Chain of Freedom’ wordt in het laatste deel van het werk muzikaal weergegeven.

Der sogenannte Baltischer Weg (The Baltic Way) auch unter dem Namen Baltische Kette bekannt war 1989 eine Demonstration von Bürgern in den baltischen Staaten Estland, Lettland und Litauen mit dem Aufruf zur Unabhängigkeit von der Sowjetunion. Am 23. August 1989 bildeten rund zwei Millionen Teilnehmer eine sechshundert Kilometer lange Menschenkette, die von der estnischen Hauptstadt Tallinn über das lettische Riga bis zur litauischen Hauptstadt Vilnius reichte. Die längste Menschenkette, die jemals geschaffen wurde, erwies sich als der letzte Schritt, der zur lang ersehnten Unabhängigkeit führte. Dieses historische Ereignis diente der Komposition alsInspirationsquelle. Die Einleitung des ersten Satzes, Struggle for Independence“, basiert auf einem Nocturne für Klavier des bekannten litauischen Komponisten und Malers Mikalojus Konstantinas iurlionis (1875 1911), dessen thematisches Material in der gesamten Komposition verwendet wird. Dem melancholischen Anfang folgt ein mitreißendes Thema, das die Entschlossenheit der baltischen Bevölkerung widerspiegelt. Die plötzlichen aggressiven, dissonanten Akkorde und eine dominante und rhythmisch gegenläufige Bewegung in der Basstrommel kündigen an, dass der Widerstand nicht reibungslos verläuft. Für einen kurzen Moment erklingt die Hymne der Sowjetunion in den tiefen Blechbläsern, aber diese wird unerbittlich vom restlichen Orchester in den Hintergrund gedrängt, welches die litauische Nationalhymne Tautiška giesm “ (Litauen, unser Heimatland“) spielt. Der zweite Satz, Decades of Suffering“, spiegelt das Leben unter dem Joch der Sowjetunion wider. Für das Streben nach Unabhängigkeit war ein friedlicher Protest geplant, bei dem eine Menschenkette durch die baltischen Staaten Estland, Lettland und Litauen gebildet wurde. Diese Chain of Freedom“ wird im letzten Satz des Werkes beschrieben.

En 1989, la manifestation nommée « La Voie balte » (The Baltic Way) s’est tenue en Estonie, en Lettonie et en Lituanie, les pays baltes dont les citoyens demandaient être indépendants de l’Union soviétique. Le 23 ao t 1989, quelque deux millions de personnes se tenant par la main ont formé une chaîne humaine de 600 km de long reliant les trois capitales Tallinn (Estonie), Riga (Lettonie) et Vilnius (Lituanie). Cette chaîne humaine, la plus longue ce jour, donna une impulsion décisive au rétablissement d’une indépendance vivement souhaitée. Cet événement historique est devenu source d’inspiration pour cette composition. L’introduction du premier mouvement,« Struggle for Independence », est fondée sur un nocturne pour piano du célèbre compositeur et peintre letton Mikalojus Konstantinas iurlionis (1875-1911). Du matériel thématique emprunté ce nocturne est parsemé travers la présente composition. Un début mélancolique est suivi d’un thème puissant qui reflète la détermination des peuples baltes. La présence soudaine d’accords agressifs et dissonants, associés une grosse caisse dont le décalage rythmique domine, indiquent que la résistance rencontre des obstacles. Nous entendons momentanément l’hymne soviétique dans les cuivres graves, mais cet air est inexorablement repoussé l’arrière-plan par le reste de l’orchestre interprétant l’hymne national de Lettonie, « Tautiška giesm » (Lettonie, notre patrie). Le deuxième mouvement, « Decades of Suffering », dépeint la vie sous le joug de l’Union soviétique. la recherche de l’indépendance, une manifestation pacifique est organisée sous la forme d’une chaîne humaine traversant les trois pays baltes l ’Estonie, la Lettonie et la Lituanie. Le dernier mouvement de la pièce, « Chain of Freedom », exprime cet appel la liberté.

SKU: BP.DF1022

6.88 x 10.5 inches.

From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar.

SKU: GI.G-001701

In response to the significant teaching document from the U.S. Bishops, Sing to the Lord, four music experts have come together to create this fine book discussing the music we use in prayer. Combining history, liturgy, sensibility, and vision, these four concise viewpoints will educate and inspire.