Memo

SKU: LM.26199

ISBN 9790230961998.

Pre - Memo - Chas... - Sable - Poucet - Bambou - Iris - Harpino - Freesia - Parasol - Pantin - Roque - Feline.

SKU: BO.B.3425

English comments:
A work written in memory of Manuel de Falla in which the author tackles popular melodies and rhythms immersed in the orchestral fabric of the string section. A string section which, thanks to a wise and daring treatment, manages at all times to give a magical projection to the characteristic timbre of the guitar, a brilliant solo instrument.

Comentarios del Espanol:
Una obra escrita a la memoria de Manuel de Falla en la que el autor aborda melodias y ritmos populares inmersos en el tejido orquestal de la cuerda. Una cuerda que tratada con sabiduria y audacia consigue en todo momento dar una proyeccion magica al timbre caracteristico de la guitarra, brillante instrumento solista.

SKU: HL.49018392

ISBN 9790001171625. 9.0x12.0x0.137 inches.

An epitaph in memory of one who died young.

SKU: BT.DHP-1115037-140

9x12 inches. English-German-French-Dutch.

Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.

Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!

Satoshi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.

The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert.

Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.

SKU: PR.11441690S

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) ”If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

SKU: HL.49020804

ISBN 9783254001184. German.

Obwohl Charles Ives (1874-1954) eine grundliche musikalische Ausbildung an der Yale University genossen hatte, schlug er sehr bald eine erfolgreiche Laufbahn als Versicherungskaufmann ein und widmete sich seiner musikalischen Arbeit nur abends und an den Wochenenden. In fast volliger Isolation vom Musikgeschehen der Zeit schuf er ein umfangreiches OEuvre, dessen grosse Bedeutung erst in den 60er Jahren entdeckt wurde: Ives entpuppt sich darin als radikaler Neuerer, der sowohl mit der damals gangigen musikalischen Syntax als auch den auffuhrungspraktischen Bedingungen seiner Zeit weitgehend brach. Allerdings ware es verfehlt, ihn bloss zum musikalischen Enfant terrible abzustempeln, das sich dank seiner materiellen Unabhangigkeit uber die Grenzen des Musikbetriebes hinwegsetzen konnte. Dafur war Ives ein viel zu reflektierender, verantwortungsbewusster Mensch, der zudem fest in der denkerischen Tradition des neuenglischen Transzendentalismus verwurzelt war. So gesehen erstaunt es kaum, dass Ives sich ausser der Musik - und gewissermassen parallel dazu - noch eines andern Mediums, des literarisch-philosophischen Essays, bediente, um seinen Uberzeugungen Ausdruck zu verschaffen.Dies gilt insbesondere fur Ives' tiefsinnigsten und ausgereiftesten Text, die Essays before a Sonata (1920), der als Begleitschrift zur zweiten Klaviersonate (Concord, Mass., 1840-1860) des Komponisten konzipiert war. Allerdings sind die Essays keineswegs ein Werkkommentar im traditionellen Sinne: Sie gehen zwar von konkreten musikasthetischen Fragen (namlich der Problematik der Programmmusik) aus, weiten sich aber zu einer sehr subjektiv gefarbten Darstellung von vier hochbedeutenden amerikanischen Schriftstellern des 19. Jahrhunderts aus - die Rede ist von Ralph Waldo Emerson, Nathaniel Hawthorne, Bronson Alcott und Henry David Thoreau. Die vier Hauptabschnitte der Essays, die den vier behandelten Autoren entsprechen, geben in ihrem innigen Konnex zu den vier Satzen der Concord-Sonata - er erstreckt sich von vagen inhaltlichen Vorstellungen und Bildern bis hin zu ganz konkreten syntaktischen und formalen Parallelen - Aufschluss uber die Kompositionsprinzipien nicht nur der Concord-Sonata, sondern der Musik Ives' ganz allgemein, so dass man die Essays before a Sonata als sehr gelungene und in ihrer Ausfuhrlichkeit wohl einmalige Paraphrase von Musik bezeichnen darf.Das Nachwort zu den 114 Liedern (1922) ist mit den Essays insofern verwandt, als es zwei langere Stellen aus ihnen zitiert. Diese Zitierpraxis - man begegnet ihr auch in Ives' Musik - ist bezeichnend fur Ives' Denkweise: Ives macht von seinem Stoff sehr flexiblen Gebrauch, er setzt ihn in der Art von Versatzstucken immer wieder neu zusammen und kommt so immer wieder zu einem neuen, anders gearteten Ganzen. So geht Ives im Nachwort weniger allgemein kunstphilosphischen Problemen als der ganz individuellen Frage nach, warum er die Musik nur als Nebenberuf ausuben wollte. Seine Antwort, die er mit seinem typischen Yankee-Humor vortragt, macht einerseits deutlich, wie sehr Ives von einem puritanischen Verantwortungsgefuhl gegenuber der Gesellschaft gepragt war, und zeigt andererseits Ives' tiefen Glauben an eine Musik, die fest im Alltagsleben verwurzelt und somit denkbar weit von der europaischen Tradition der art pour l'art entfernt war.Die Memos (ca. 1932-34) schliesslich sind ein Dokument ganz anderer Art: Weder sollten sie, wie die beiden andern hier vorgelegten Texte, ein bestimmtes musikalisches Werk begleiten, noch besitzen sie den hohen gedanklichen Ausspruch der Essays und des Nachworts. Es sind autobiographische Aufzeichnungen, die Ives ursprunglich diktierte, deren Manuskripte er aber danach mehrmals durchsah und korrigierte. Sie gliedern sich in drei lose aneinandergereihte Teile: Im Anlass betitelten Abschnitt nimmt Ives auf teils humoristische, teils sarkastische Weise zu den Anfeindungen Stellung, die ihm die damals sparlichen Auffuhrungen seiner Werke bescherten. Im Sammelalbum gibt er einen chronologischen Uberblick uber Entstehung und Gehalt seiner wichtigsten Werke. Und in den Erinnerungen verschafft Ives nochmals den Grundpositionen seiner idealistischen Musikasthetik, seiner Abneigung gegen jede Form von Kommerz und Routine und seiner Verachtung aller musikalischen Kleingeister Ausdruck. Uberdies sind die Memos - trotz ihrer defensiven Grundhaltung - so humorvoll, engagiert und bildreich verfasst, dass sie nicht nur die detaillierteste, sondern auch die wohl anregendste Primarquelle zum Leben und Werk dieses vielleicht eigenwilligsten Komponisten des fruhen 20. Jahrhunderts bilden.

SKU: CA.2709611

ISBN 9790007239831. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc. Score and part available separately - see item CA.2709600.

SKU: CA.2709600

ISBN 9790007186272. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc.

SKU: CA.2709619

ISBN 9790007239794. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc. Score and parts available separately - see item CA.2709600.

SKU: CA.2709648

ISBN 9790007239862. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc. Score and part available separately - see item CA.2709600.

SKU: CA.2709647

ISBN 9790007239855. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc. Score and part available separately - see item CA.2709600.