Performance time - ca. 3:50
Arranged for Itzhak Perlman.
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Starting with a movement in the composer's most eruptive and jagged style it continues with music of bouncing ebullience whose wayward lyricism incorporates Turnage's characteristically vital bluesy inflections. The second movement places sombre, troubled gestures within an atmosphere of stillness and restraint. A scherzo follows, restless and slithery. But its in the slow, uneasy finale that the note of inner reflection reaches its most personal and eloquently expressive apogee. MORE»
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This concerto is dedicated to Dennis Russell Davies and Paul Zukofzky, who presented the first performance. The orchestral accompaniment consists of two flutes (one doubling as piccolo), two oboes, E-flat clarinet, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbal, woodblock) harp, and strings. Presented here in full score.
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(2003)
Raise the Roof is inspired by the construction of grand architectural wonders such as the Notre Dame Cathedral in Paris (1345) and the Empire State Building in New York City (1931). Daugherty creates a grand acoustic construction by bringing the timpani into the foreground and incorporating a wide variety of timpani techniques to create long expressive melodies and a tour de force cadenza. Duration - ca. 13:00
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Inspired by two pieces by the band Radiohead, Reich has composed this five-movement work for Flute, Clarinet, 2 Vibraphones, 2 Pianos, Electric Bass, and String Quartet.
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The composer states that her Cello Concerto is antithetical to her other concertos. “While in the concertos for violin and piano, in the Double Concerto, and in my new sheng concerto I was seeking to merge the solo instrument and the orchestra into a single virtuoso super-instrument, here it's all about the competitive tension between the soloist and the orchestra. The 'aura' of the cello was the initial nucleus and forms the basis of the music, so the whole structure of the piece is thus 'carried' by the cello. However, the orchestra responds to it in an antagonistic way. This antagonism is much stronger than in traditional Classical-Romantic concertos; one could even speak of a 'psychological warfare' between soloist and orchestra. In my cello writing, I often ask the soloist to disguise the nature of the instrument so the perception can be blurred. I try to explore the boundaries of the cello's expressivity and to broaden the definition of 'expression'. Therefore I also use special playing techniques and call for unusual timbres, including noises and rasping sounds. For me, this actually serves the expressivity by suggesting new meanings. The unique artistry of Alban Gerhardt inspired me immensely. Not only his solo part but also the orchestral parts are often characterized by extreme virtuosity, by the idea of the instrumentalists being pushed to the edge.”
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New, corrected edition of MacMillan's breakthrough work, a sensation at the 1990 BBC Proms. The work is now firmly established in the contemporary orchestral repertoire worldwide and championed by leading conductors.
Isobel Gowdie, from Nairn, Scotland, was publically executed in 1662 amid scenes of hysterical fright and sadism, one of 4,500 who perished during the Scottish Reformation because their contemporaries thought they were witches. The composer remarks, “Initially I was drawn by the dramatic and programmatic potential of this insane and terrible story but the work soon developed a far more emotional core as I attempted to draw together various strands in a single, complicated act of contrition. On behalf of the Scottish people the work craves absolution and offers Isobel Gowdie the mercy and humanity that was denied her in the last days of her life. To do this I have tried to capture the soul of Scotland in music, and the outer sections contain a multitude of chants, songs and litanies (real and imagined) coming together in a reflective outpouring – a prayer for the murdered woman. This work is the Requiem that Isobel Gowdie never had.”
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Inspired by Edgar Allan Poe's take on the Koranic angel Israfel, “whose heart-strings are a lute, and who has the sweetest voice of all God's creatures”, Mark Simpson was motivated to write a piece that sang, floated, morphed, moved, moved us, lifted us, had power, had fragility, had hope, uncertainty, beauty – something otherworldly, something transcendental – something to shake us. Poe's poem perfectly conjures up the myriad emotions Simpson wanted to take the listener through. In terms of structure the piece is divided into two parts. The first part has an ever-shifting, singing quality, and the second a faster more determined drive towards a dramatic climax. The coda however is bittersweet, as in the poem, which concludes with the author wondering whether if their places were switched, he could make a better melody from his lyre.
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A pan-demonium for chansonnier and orchestra after children's rhymes by HC Artmann. MORE»
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The composer born in Prague, now living in America, studied with Honegger and Nadia Boulanger. The pieces created in 1955 are very rewarding for orchestral work since all parts are treated equally. They are particularly conducive to rhythmic precision and ensemble playing.
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Preface • Till Eulenspiegels lustige Streiche
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| List | $91.00 |
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These volumes are the first releases of an ambitious series by DSCH, the exclusive publisher of the works of Shostakovich. Each volume contains: new engravings; articles regarding the history of the compositions; facsimile pages of Shostakovich's manuscripts, outlines and rough drafts; plus interpretations of the manuscripts.
In total, 150 volumes are planned for publication.
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Content text: Preface
Vorwort
I. Kräftig. Entschieden
II. Tempo di Menuetto. Sehr mässig. Ja nicht eilen!
III. Comodo. Scherzando. Ohne Hast
IV. Sehr langsam. Misterioso. Durchaus ppp
V. Lustig im Tempo und keck im Ausdruck
VI. Langsam. Ruhevoll. Empfunden
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For chorus and orchestra.
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Concerto A Minor for 2 Violins Strings Continuo RV522 (Op. 3, No. 8). Intro in Italian and English.
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92 Sonatas in one book:
Volume 106: Sonata for Cello and Piano Op. 40, Moderato for Cello and Piano Sans op.
Volume 107: Sonata for Violin and Piano Op. 134, Unfinished Sonata for Violin and Piano Sans Op.
Volume 108: Sonata for Viola and Piano op. 147
Hardcover Score
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Shostakovich's Symphony No.2 was written in 1927 to fulfil a state commission to mark the tenth anniversary of the October Revolution. The composer opens the compact 20-minute work with a purely instrumental first section followed by a musical setting of Alexander Bezymensky's poem To October, a hymn of praise to Lenin and the revolution. While avant-garde and modernist traits prevail in the first section, the choral finale features a conventional, almost placating tonal language that emphasises the histrionic gestures of the text, so that the composition communicates as a piece of programmatic propaganda. Shostakovich himself was rather dissatisfied with his Symphony No. 2 but it was awarded first prize in a composition competition for the best pieces relating to therevolutions jubilee.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of Dmitri Shostakovich”.
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Against the backdrop of increasingly strict guidelines for the creation of art and music from the beginning of the 1930s, Shostakovich presented with his Symphony No.3 a work that satisfied a number of the required characteristics: alongside the clear, tonal writing and insistent rhythms, the choral finale triumphantly sings of the revolutionary celebration of May Day. The composer spoke in a letter of the “spirit of peaceful reconstruction” which he wanted to express in his new work. Despite its initial success, Shostakovich's Third was categorised as “formalistic” and disappeared from the repertoire for the next 30 years.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of Dmitri Shostakovich”.
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After giving in to massive pressure from state authorities in 1960 and finally becoming a member of the Communist Party, Shostakovich fell into a gloomy depression. His 8th String Quartet, composed in the same year, is interpreted as a deeply personal commentary on this. By contrast, his Symphony No.12, which was written around the same time and bears the subtitle “The Year 1917”, seems like a dutiful official statement with its October Revolution subject matter. Remarkable are the works recourse to the idealsof early communism and the omission of any references to contemporary times. In the West, the symphony was seen as pure propaganda music – but even back then, many listeners will have had an idea of what was hidden behind the shrill, tense jubilation.
This volume is part of the revised and corrected new edition of all 15 symphonies by Dmitri Shostakovich published by Boosey & Hawkes and Sikorski as large format study scores for optimal legibility. All scores and the related orchestral parts have been newly computer typeset, and the orchestral parts are also compatible for performance use with scores in “The New Collected Works of Dmitri Shostakovich”.
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