Labyrinth

SKU: PR.11540425S

UPC: 680160688142.

My  work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

SKU: HL.278658

ISBN 9788759840849. 10.5x14.5x0.445 inches.

Prelude-Labyrinth-Exit by Anders Brodsgaard for Cello solo (1994-2002). Prelude was commissioned by Louise Lerche-Lerchenborg for Lerchenborg Musikdage 1994. Labyrinth-Exit was commissioned by Det Unge Tonekunstnerselskab in 2002. Score revised in 2018.

SKU: HL.14015291

ISBN 9780711967120.

Daedalus Remembers is the third part in a trilogy called 3 for Icarus. Daedalus was Icarus' father and a famous craftsman. He once forged a magic sword for Peleus which had a property of making its owner victorious in battle, and he also created the labyrinth of King Minos of Crete in which the Minotaur (half bull, half man) was imprisoned. The second part of the trilogy is entitled Minotaur Games after Troy games, a kind of labyrinthine dance involving cords (Ariadne's thread?). At one point in the myth Daedalus and Icarus are also imprisoned in the labyrinth. They escape by means of wings which Daedalus has made from feathers and wax. Sadly, despite his father's warnings, Icarus flies too close to the sun in a fit of hubris, and the wings melt, causing him to plunge to his death. Daedalus alights safely on a beach in Sardinia, and after he has collected his thoughts remembers his son's fall and scenes from his own past life. Have the gods paid him back for the death of his nephew Talos, whom Daedalus killed in a fit of jealousy by pushing him off the top of a temple in the Acropolis? Daedalus rants and sorrows - dark memories nag persistently. Daedalus Remembers is scored for solo cello with flugelhorn, two horns, percussion, cimbalom, harp, three violas, four cellos and two double-basses.

SKU: FH.FLR00

ISBN 978-1-55440-288-5.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski
Polly Wolly Doodle Traditional American, arr. Akiko and Forrest Kinney
The Birch Tree Traditional Russian, arr. Akiko and Forrest Kinney
Royal Ceremony Alan Bullard
The Cuckoo Traditional
Chinese Flute Tea Paul Harris
Petite souris (Little Mouse) Thierry Masson
Valse des trois petits ours (Waltz of the Three Little Bears) Thierry Masson
Edinburgh Castle Richard Peat
Tete-a-tete (Head-to-head) Marine Perez
Menuet (Rondeau) Francois Philidor, arr. Kathleen Wood
a la claire fontaine (At the Clear Fountain) Traditional French Canadian, arr. Akiko and Forrest Kinney
Huron Carol 16th-century French, arr. Akiko and Forrest Kinney
Syrian Love Song Traditional Syrian, arr. Judith Pearce and Christopher Gunning
Graceful Waltz Alan Bullard
Seesaw Christopher Norton
Labyrinth Susan Piltch
What Is a Day? Philip Rosseter, arr. Akiko and Forrest Kinney
Kojo no Tsuki (The Moon Over the Ruined Castle) Rentaro Taki, arr. Mark Mrozinski.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

SKU: PE.EP72666A

ISBN 9790577009865. 210 x 297mm inches. English.

Jointly commissioned by the London Symphony Orchestra, Berlin Philharmonic and Festival Aix-en-Provence, 'The Monster in the Maze' was composed by Jonathan Dove to a libretto by Alasdair Middleton, with German and French translations by Arne Muus ('Was lauert da im Labyrinth?') and Alain Perroux ('Le Monstre du labyrinthe') respectively. The piece is scored for three professional soloists and a professional actor, adult community chorus, youth chorus, children's chorus, and an orchestra of professional players playing alongside young or pre-professional players. Edition Peters vocal score of the English language version.

SKU: MA.EMR-50428

1. Majestic Place / 2. Winter Story / 3. Secret Agent / 4. Labyrinth Concertino / 5. Music Essence.

SKU: MA.EMR-50416

1. Majestic Place / 2. Winter Story / 3. Secret Agent / 4. Labyrinth Concertino / 5. Music Essence.

SKU: HL.14018480

ISBN 9788759863121. Danish.

Two Act Opera. Text: Bent Norgaard.

SKU: PE.EP72822

ISBN 9790577011769. 232 x 303mm inches. English.

I have only visited Damascus once, twenty years ago, on the way to Palmyra.  I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist.  Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.

In Palmyra, I was met with extraordinary kindness everywhere.  On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.

Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed.  When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.

I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine.  I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation.  In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry.  It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.

In setting these words, I have not attempted to imitate Syrian music.  However, there is what might be called a linguistic accommodation in my choice of scale, or mode.  Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation.  This eight-note mode is similar to scales found in Syrian music.  I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words.  In this work, its Arabic aspect is more prominent. - Jonathan Dove