SKU: CL.024-3741-01
Ed Huckeby provides us with this modern setting of the classic chaconne form in a piece that is very appropriate for various levels of development. Relaxed, yet flowing, you will find that Mystic Visions will grow in interest and appeal with each and every rehearsal. A masterful composition in an educationally sound setting!
SKU: AP.98-RWS201301
Mystic Forest is a mysterious and exhilarating addition to your next concert. The audience is taken into a fictional world, where visions of blue and purples captivate the landscape. Sweeping harmonies and tender solo lines showcase the energy of the mystic forest, followed by a rapid chase represented by fast tempos and bombastic percussive sections. Engulf your audience with beautiful harmonies that send them into the Mystic Forest.
SKU: CL.RWS-2013-00
SKU: HL.48024511
ISBN 9783793142331. 9.0x12.0 inches.
Using four well-known poems by Else Lasker-Schüler as basis of a vocal work does not mean “setting to music†in the customary sense to the composer Lothar Voigtländer from Dresden: The colourful figure of the poetess, her unusual imageries, her (even religious) visions, as well as her close relation with renowned fine artists of her time had been on his mind for quite some time and in 2009 found their way into this composition: The dramatic, irregularly declaiming singing voice is harmonised with mystic, exotic piano farlands and the sounds of bells. At the composition competition of the Viennese Mahler Society in 2010, the songs were awarded the 1st prize.
SKU: ST.Y291
ISBN 9790220223372.
CONTENTS 1. Blackbird (Anne Stevenson) (b - g) 2. The moon is distant (Emily Dickinson) (b - g sharp) 3. Bird in hand (Anne Stevenson) (e flat - g flat) 4. On not being able to look at the moon (Anne Stevenson) (b - g) For medium voice and piano or ensemble of flute, harp and string quartet, Moon and Birds is a substantial cycle of songs to words by Anne Stevenson and Emily Dickinson. Its sequence of four settings, 'Blackbird', 'The moon is distant' (Dickinson), 'Bird in hand' and 'On not being able to look at the moon' unfolds a symmetrical structure of contrasting yet interlocking moods in which the reflective second and fourth numbers, lunar visions of mystic tranquillity flawed by doubt and pain, temper with human frailty the bright epiphanies of the first and third songs. There is a fascinating challenge here for the performer to embrace both elation and gravitas in a single reading, Samuel's vigorous musical invention binding the developing web of feeling with its own formal strengths and subtly illustrative moments. In the version for string quartet, flute and harp, first performed by Contemporary Connections on 4 November 2011 at St James's Church Piccadilly, the flute takes a prominent role throughout. Violins, viola and cello at times elaborate on the simpler textures of the keyboard version, though the two scores remain entirely compatible. The bluesy harmonies of the concluding number, whether weighted by sonorous string quartet or profiled in edgier piano chords, bring the cycle to a sombre conclusion with a proper sense of an emotional world traversed.
