SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: PR.140400880
UPC: 680160023493.
SKU: BT.DHP-0971085-010
Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997. Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen.De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende,humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose.Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt. Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose. Commissionato dalla St. Peter’s Wind Symphony Orchestra di Brisbane, è dedicato alla monumentale villa tardo-ottocentesca dove il collegio dell’orchestra ha avuto la sua storica sede. Metafora degli anni della formazione, è caratterizzato da un finale in stile ouverture, come se gli anni della scuola rappresentassero una sorta di ouverture al resto della vita.
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: BT.DHP-0971085-120
Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997. Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen. De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende, humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose. Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt. Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose.
SKU: BT.DHP-0971085-020
SKU: BA.BA06861
ISBN 9790260104211. 34.3 x 27 cm inches.
LeoÅ¡ Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanovaâ€. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.†Thus LeoÅ¡ Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony†entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers MiloÅ¡ Å tedron and LeoÅ¡ Faltus closely follows the original manuscript.A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola†by the Czech writer Sonja Å pálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube†to the inconclusive ending.To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forcesâ€. The third movement is said to characterise the city of Vienna in the form of a woman.It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj†– and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpaniâ€, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of loveâ€.
About Barenreiter Urtext
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MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: ST.B882
ISBN 9780852498828.
The pattern of the book finds a place for material exploring a diversity of topics, such as childbirth, teenagers, creativity, women in the Bible, marriage and the breakdown of marriage, cot death, retirement, caring, Alzheimers, HIV and Aids, bereavement, greed, giving, working, worshipping, globalisation, coincidences, miracles, healing and the Spirit, summed up in the final item of the collection, the hymn God the Weaver. In each of the five sections - The Festival Way, The Biblical Way, The Disciples' Way, The Family Way and The Global Way - Marjorie allows us to see the 'working out of many of the texts through her own faith experience as a Methodist Local Preacher, dedicated to seeking out new paths in worship experiences meaningful for Christians today. Fresh musical settings are printed with all hymn texts, including several lively new arrangements of traditional songs. Incisive and observant, the author's unmistakable style will win many new admirers in this first collection of a writer and worship leader increasingly recognised for the breadth and vigour of her creative work.
SKU: CA.1632607
ISBN 9790007108120. Language: all languages.
Commissioned by the Ensemble Intercontemporain In 1989 I first discovered the writings of Anne-Marie Albiach. H II lineaires especially impressed me, on the one hand through the sensual presence of the words, and on the other hand, above all, through the spatial disposition of the typography. This is a form of writing which has nothing to do with all that has existed before it. This impression was the starting point for a creative work which has since become a kind of a project to which I will dedicate myself throughout my life. Since that time of my first discovery (in which hundreds of pages of sketches and a published excerpt of a score of a syntagma have been composed, namely << monstrueuse vecut dans le cadre >> la memoire) I have attempted to develop a new musical system that encompasses all the parameters of composition. All of these works which I have composed are independent from this enormous project, but at the same time they form the experimental laboratory for the all-encompassing musical system towards which I am working and developing: a new system of determining pitches, metre, dynamics, musical diction, manner of performance, etc. With << monstrueuse vecut dans le cadre >> la memoire it appears that the research for this project has been concluded. After the two large cycles << Les Georgiques >> on texts from Claude Simon and << Tristram Shandy >> from Laurence Sterne, both employing techniques from my work with Albiach's texts, I could finally compose this work, which was originally conceived for voice and 6 instrumental groups - the system was mastered, so to speak. Anne-Marie Albiach's establishes the genetic code for the piece, without the words having to be spoken.. Her text is, in the true sense of the word, measured from one syntagma (syntactical element), from one void (space) to another, and this results in temporal structures of ensemble texture. This is opposed to another texture, which is the temporal measurement of a recitation of the text by the author: her voice, using the range of her voice, is the viola solo - a recitation, in its unique individuality, on which the cold, typographical structure of the ensemble superimposed. Every time I read a text of Anne-Marie Albiach, it seems to me that she is saying that which I do. An extremely rare coincidence, like that with the violist Odile Auboin, the soloist, who I think works in the same manner and has the same approach to things. Score available separately - see item CA.1632600.
SKU: HL.44004811
UPC: 073999542554.
9 instrumental solos with catchy melodies: Beach Party * Cool It * In a Mood * St. Lucia * The Chase * Cheeky Monkey * Minor Incident * Double Density * If I Love You. Includes a play-along CD!
SKU: HL.49017074
ISBN 9790001151573. 9.0x12.0x0.182 inches.
In this trio, as in most of his compositions, Jost has pictures and associations with true incidents, films and novels in his mind. What inspired him to write this piece was Joseph Conrad's novel 'Heart of Darkness' in which the protagonist Marlow says about the city of Brussels: 'In a few hours I arrived in a city that always make me think of a whited sepulchre.'In 'Sepulchral City', a work commissioned to mark the tenth anniversary of the Jerusalem Chamber Music Festival, however, the title refers to Jerusalem, the city of white tombs. The topic of Jost's trio is a travel into the soul and living spirit of a city, with no physical movement being needed to find the heart of impenetrable darkness: It lies within the city walls.In this respect, 'Sepulchral City' equals a compositionally unfolded funeral bell. Even the animated middle section rather has insisting than progressive power. At the end, the only thing to do is to inhale and exhale.
