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James Weeks: Walled Garden (Study Score)

Secret Garden

Secret Garden

Secret garden is a composition that is based on a homonymous pencil drawing by the young Armenian artist Arshak Sarkissian. I have been interested in Arshak’s pencil drawings for a while now since attending his solo exhibition at the Pharos Arts Foundation in Nicosia. Apart from the technical realization, I was also interested in the thematic approach. Animal sounds play an important role in my works and animals play a big role in many of Arshak’s drawings. Human and animal hybrids appear often in his work, such as the humanoid creatures with bird heads, and the artist also gives great importance to the dress or hairstyle of his exotic subjects. Looking at some of these drawings, I feel that in some ways, the artist is trying to create an abstract mythology that transcends over time, combining different cultural elements to create new mythical creatures. I have found his art to be in close alignment with the imagery of Primitivism as well as my own interest in mythology, animals, and the music of previous centuries. My strictly traditional formal training together with my contemporary aesthetic outlook, the frequently used process of mixing reality with fiction and traditional techniques and methods with unique thematics, yet always leaving room for interpretation, are some of my artistic qualities that I also see in Arshak’s work. The work is dedicated in utmost gratitude to the magnificent musicians of Klangforum Wien and also as a farewell sonic gesture to Sven Hartberger, the ensemble’s wonderful General Manager of several years.Secret garden is a composition that is based on a homonymous pencil drawing by the young Armenian artist Arshak Sarkissian. I have been interested in Arshak’s pencil drawings for a while now since attending his solo exhibition at the Pharos Arts Foundation in Nicosia. Apart from the technical realization, I was also interested in the thematic approach.Animal sounds play an important role in my works and animals play a big role in many of Arshak’s drawings. Human and animal hybrids appear often in his work, such as the humanoid creatures with bird heads, and the artist also gives great importance to the dress or hairstyle of his exotic subjects. Looking at some of thesedrawings, I feel that in some ways, the artist is trying to create an abstract mythology that transcends over time, combining different cultural elements to create new mythical creatures. I have found his art to be in close alignment with the imagery of Primitivism as well as my own interest in mythology, animals, and the music of previous centuries. My strictly traditional formal training together with my contemporary aesthetic outlook, the frequently used process of mixing reality with fiction and traditional techniques and methods with unique thematics, yet always leaving room for interpretation, are some of my artistic qualities that I also see in Arshak’s work.The work is dedicated in utmost gratitude to the magnificent musicians of Klangforum Wien and also as a farewell sonic gesture to Sven Hartberger, the ensemble’s wonderful General Manager of several years.

DKK 472.00
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James Weeks: Walled Garden (Set Of Performing Scores)

Robert Saxton: Hortus Musicae - Book 2

Sadie Harrison: Return Of The Nightingales

Sadie Harrison: Par-feshani-ye 'Eshq'

Sadie Harrison: Hällristningsområdet

Sadie Harrison: Hällristningsområdet

Sadie Harrison's Hällristningsområdet  for solo Double Bass. Composed and published 2016. Duration c. 10 minutes The area of Tanumshede is situated on the south western coast of Sweden. Archaeologically, it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels, the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting, agricultural and livestock farming and warring, with many armoured figures carrying swords, axes and shields. Whilst it is possible to interpret most carvings as images of quotidian life, the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods, often surrounded by abstract symbols - crosses, dots and ‘cups’, the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons, vehicles, tools, ships, even hairstyles, the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal, making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman, apparently weeping over a dead warrior from a ship. Her grief, ‘heavy as rocks’ is heard in the opening movement of the piece, echoing through the remaining movements and giving the work its dark, melancholy character. The Woman returns in the final movement as a ghost, her footsteps coming closer and closer as her ‘lover’s’ ship is rebuilt over and over again. Movement III is gentler in tone, a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps juggling the fate of The Grieving Woman. Hällristningsområdet was written at the request of bassist Dan Styffe, resident in Norway but born in Sweden. - Sadie Harrison I Den sörjande kvinnan: The Grieving WomanII Tjugonio bollar: identifiera juggler tid: 29 Balls: identifying the juggler of time II Tjugonio bollar: identifiera juggler tid: 29 Balls: identifying the juggler of time III Älskande rullande solen: Lovers rolling the sun IV Diskursiva relationer mellan skepp och fotsulor: Discursive relationship between ships and footsoles

DKK 119.00
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