And on the Seventh Day Petals Fell in Petaluma, Harry Partch's homage to his California home. The composer spent four decades in theBay of San Francisco, with two breaks of six years each, always searching for new sound experiments. The 23 duet studies can be combined into larger-scale chamber music works and are also suitable as concert pieces - full of original polyrhythmics, polymetry and polytonality.
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Fascinated by the idea that there could be an omniscient witch, Partch wrote these ten scenes for a singer and ensemble. The musicians and their movements are part of the plot in which people are freed from various problems by a witch. Most of the required instruments and the sound system used were developed by Partch itself.
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For four trumpets, four trombones, tuba and timpani.
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Instrumentation: Clarinet, 3 trumpets, 2 trombones, percussion.
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For clarinet, bassoon, French horn, violin, viola, cello and double bass.
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Antifona for 2 Oboes and Strings.
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For Clarinet and String Quartet. This fascinating one-movement work was premiered and recorded by the Chamber Music Society of Lincoln Center. Duration ca. 16 minutes.
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Challenge your chamber group with this fascinating work by one of our most important contemporary composers. The title refers to the way in which other instruments expand upon and transform the colors of the solo piano. Scored for piano with flute, clarinet, trumpet, trombone and 2 percussion. Duration ca. 13 minutes.
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Tower's Rain Waves, which musically explores the motion of a wave form, was written in 1997 as a commission by Michigan State University for the Verdehr Trio. A recording is available on compact disc: Verdehr Trio, The Making of a Medium, Vol. 13 Crystal Records CD 943.
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Instrumentation: Piccolo, Oboe, English Horn, Clarinet, Trumpet, Harp and 2 Percussion.
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Orginally composed for oboe and wind quartet, the composer created this version for oboe and strings in 1989. Ca. 10 minutes.
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For Flute, Oboe, Cello and Harpsichord.
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Among Vivaldi's many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted in autograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is very possibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as part of a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this setin detail. It is very likely that RV 431 and RV 432 belonged to this group of works, the last known collection of its kind in Vivaldis oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. MORE»
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Scored for flute, piccolo, violin, viola, violoncello and harp. Composed in 1952, this is the first published edition of the piece.
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Among the works by Vivaldi that are preserved incompletely, the Concerto in due cori con due violini e due organi obbligati, RV 584,stands out for its musical interest and structural complexity. It is a work of sumptuous and geometrical architecture composed to mark two special and concurrent events: the purchase - in 1737 - of a new large organ by the Ospedale della Pietà and the re-engagement of Vivaldi for a final time by this famous Venetian institution for foundlings as its “maestro dei concerti”. From thetime of his first employment at the Pietà Vivaldi had composed concertos “in due cori” (“for double ensemble”) in celebration of themost important liturgical and commemorative occasions; it was he who carried on, in the instrumental domain, the ancient Venetian tradition of polychoral music, leaving us six works that constitute the sole Italian examples of such writing.
Recounting in detail the story of the purchase of, and repairs to, the organs of the Pietà in relation to Vivaldi's composition for this instrument, the introductory essay for this edition manages to mark out a precise chronological grid against which it is possible to date the work exactly. This investigation likewise produces a precise dating for the concerto RV 585, the earliest specimen of its kind, which was composed between September 1708 and February 1709. This 'story of the organs' additionally affords the opportunity to present an anthology of documents from the Pietà shedding light on the special relationship that existed between Vivaldi, the governors and the “figlie”.
Of this concerto, which was certainly composed in its entirety by Vivaldi and therefore - in all likelihood - also performed, there remains today only the autograph of the first, extended movement: enough to bear witness to the quality and impressiveness of the work and encourage its performance.
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Vers toi qui es si loin is an adaptation of the final aria of Saariaho's 2000 opera L'Amour de loin, with a libretto by Amin Maalouf. Piccolo, harp and strings accompany the solo violinist in this version. The original version for soprano solo is also available.
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