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Ruders Corona Orchestra F/S (Copy)

Ruders Corona Orchestra F/S (Copy)

Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995. Programme note: CORONA makes the final part of the SOLAR-TRILOGY, a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth, life and final collapse of our nearest star, the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA, then, is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONA follows the process of such totality in progress:the gradual eclipsing by the Moon - total darkness with thefierce, sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too, underlying each of the three compositions: GONG, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally, the zenith of ZENITH makes the zenith of the entire trilogy, i.e. when the E- flat of the unisone horns in ZENITH is heard, we are exactly halfway through the collected work. Poul Ruders

DKK 1235.00
1

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Score)

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer, 2014). Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

DKK 787.00
1

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Piano Solo)

Poul Ruders: Paganini Variations - Piano Concerto No.3 (Piano Solo)

Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point of distraction - and the secret behind it being hauled through "the wringer" by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it´ll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn´t end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested "why not transcribe the solo part for piano?". The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it "the one-and-only", the "real thing", if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others´s equal. Poul Ruders  

DKK 392.00
1