HPS 891
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HPS 722
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Includes an introduction by the composer.
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Premiered in 1982 by the Arraymusic ensemble at Trinity United Church, Toronto, Ontario.
Instrumentation: Trumpet in C, Piano, Viola, Cello, Double Bass, Percussion: Celesta, Vibraphone, Trompong, Chang, Balinese Gong, Tam-tam (with Super ball).
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This propulsive concerto for string quartet and orchestra is built on fragments of Beethoven's late string quartets and other pieces.
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For clarinet and string quartet.
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Preface • I. Introduction. Adagio / Allegro • II. Adagio. Sehr langsam • III. Scherzo / Trio. Molto vivace • IV. Finale. Adagio / Allegro moderato
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Preface • Orchestration • I. Majestoso • II. Adagio. Sehr feierlich • III. Scherzo/Trio. Nicht schnell • IV. Finale. Bewegt, doch nicht zu schnell
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Based on the critical edition. With CD of a recorded performance.
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The facsimile edition of the manuscript of Johannes Brahms' Fantasies op. 116, nos. 1-7 for piano solo is bound in red linen. The five-color print reproduces the autograph, wich was acquired in 1926 by the present-day Staats und Universitatsbiblothek Carl-von-Ossietzky in Hamburg, and is housed in the Brahms Archive. The facsimile is not only valuable owing to its high-quality workmansip, but also due to its detailed, scholarly afterword by the editor Bernhard Stockmann. In 1997, this facsimile print was honored with the German Music Edition Prize. Specialist journals praised this edition as “a real treasure in typographically unsurpassable reproduction quality.”
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Joint publishing venture with Editio Musica Budapest.
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Miniature (5-3/4″ x 8-1/4″) full scores of these pieces with an introductory article.
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Newly engraved edition based on the composer's manuscript. Includes historical notes, bibliography, and critical commentary.
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Revised edition.
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From the composer: The title derives from Old High German. Inherent in it are the following meanings: to hoodwink; to make ridiculous movements; to fool someone by means of feigned magic; to practice fortune-telling. The title refers to a Proustian moment I experienced – entirely unexpectedly – during my first sojourn in China: in 2008 and 2009 I visited Hong Kong and Guangzhou, among other places. The atmosphere of the old and poor residential neighbourhoods with their narrow, winding alleys, ambulatory food vendors, and market places – all this not far from supersized video screens, ultramodern buildings, and glittering shopping centers – brought to mind long forgotten childhood experiences. It reminded me very much of Seoul of the 1960s, of the period after the Korean War and before the radical modernization. Of conditions that no longer exist in today's (South) Korea.
I was particularly reminded of a troupe of entertainers I saw a number of times as a child in a suburb of Seoul. These amateur musicians and actors travelled from village to village in order to foist self-made medicines – which were ineffective at best – on the people. To lure the villagers, they put on a play with singing, dancing, and various stunts. (I still recall that the plots almost always had to do with unrequited love, and that the performance inevitably ended with the heroine's suicide.) This was all extremely amateurish and kitschy, yet it aroused incredible emotions among the spectators: this is hardly surprising, considering that it was practically the only entertainment in an everyday life marked by poverty and repressive structures. Entertainment electronics and toys (not to mention art) were of course unknown. Therefore, the whole village was present at this “big event,” a circumstance from which others also desired to profit: fortune-tellers, mountebanks, and travelling hawkers. Among these were also wig dealers from whom young girls could earn some money for their families by sacrificing their pigtails.
Gougalon does not refer directly to the dilettante and shabby music of that street theater. The memories described above merely provide a framework, just as the movement headings are not intended to be illustrative. This piece is about an “imaginary folk music” that is stylized, broken within itself, and only apparently primitive.
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Total performance time - ca. 15:30
I. Theme from J.F.K (4:45)
II. Motorcade (3:55)
III. Arlington (6:25)
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Performance time - ca. 2:20
Written especially for the Rose Bowl Ceremonies, January 1, 2004.
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Performance time - ca. 4:00
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