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Poul Ruders: Nightshade (Full Score)

Per Nørgård: Symphony No. 6 (Score)

Per Nørgård: Symphony No. 6 (Score)

Per NørgårdSYMPHONY NO. 6AT THE END OF THE DAYfor orchestra, 1997-99Preface / Programme Note?? with the Lord a day is like a thousand years, and a thousand years is like a day?(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Göteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean ?when all is added up?. However, in my opinion, nothing ever quite adds up, there is always ?something? missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still ?something?, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of ?other worlds?, is revealed ....The symphony is dedicated to Helle, my wife.Per Nørgård

SEK 2134.00
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Poul Ruders: Piano Concerto No.2

Poul Ruders: Piano Concerto No.2

For Piano and Orchestra.Commissioned by The Norwegian Radio Orchestra and Jerome Lowenthal.Full Score.Orchestration3 Flutes (3rd dbl. Piccolo)3 Oboes (3rd dbl. Cor Anglais in F)3 Clarinets (1st and 2nd in Bb, 3rd in A, dbl. Bass Clarinet in Bb)3 Bassoons (3rd dbl. Contra Bassoon)4 Horns in F3 Trumpets in Bb3 Trombones1 TubaPercussion (2 players)1: Chinese Cymbal (suspended/bowed)XylophoneMark Tree]TriangleAnvilPolice WhistleVibra SlapSnare Drum2: GlockenspielTamTamBass DrumCrotalesVibraphoneKick Drum with Hi-Hat1 HarpPiano SoloViolin 1 (min. 10)Violin 2 (min. 8)Viola (min. 6)Cello (min. 4)Double Bass (min. 4)The score is notated in transpositionAll accidentals apply to each single note only. Naturals for 'safety'.Programme NotesIn this day and age, when faced with the challenge of writing a 'Piano Concerto', e.g. a piece for symphony orchestra and an all-dominating and virtuosic solo Piano part, one has two options: either: DO, or do NOT go for it wholesale, exploiting and enjoying the conrnucopia of sonorous treasures offered by the combination of the orchestra and the 'Grand Piano'. I have opted to go for it. When writing for one of our great young international Piano stars, it would be absurd, and a waste, to do anything less and only 'nibble at the goodies'.However, the piece is not a big, clunky 'machine'. Rather it is a transparently orchestrated neo-classic (for the lack of a better work) composition in three movements, lastign approximately 25 minutes.The piece begins with a moderately paced opening, in which the Piano gradually gathers momentum and strength, beginning with the most gentle of motifs. In this movement the soloist and orchestra fo not always agree, and the vigilant listener will observe the disparity between the two. Following a swift, up-beat coda, the movement stops, almost in mid-breath, on one of the gentle Piano chords taken from the very opening.The extreme simplicity of the second movement, 'Semplice' (the opening Piano solo bears the marking: 'slightly hesitant - like a child practicing') is, after having been joined by the Vibraphone, Harp and solo Violin, suddenly violated with unprecedented brutality by the rest of the orchestra, which virtually 'lies in wait - panting to pounce'. But eventually calm and order is restored.The finale is a crazy rondo of sorts. The marking 'Avanti Risoluto' (Forward with Resolve) is a bit of an understatement. It is a full throttle, no hold barred ride - and hopefully lots of fun for everybody.         - Poul Ruders, February 2010

SEK 1776.00
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