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Kaija Saariaho: Petals

Kaija Saariaho: Petals

This composition was written quickly in a matter of days, however the composer describes the longer process of writing the piece as unconscious preparation. There are opposite elements on display within the piece, fragile coloristic passages give birth to energetic events with clear rhythmic and melodic charachter.More sharpely focused figures pass through different transformations then finally merge back to less dynamic but no less intensive filigration. In bringing these compositional elements together and by forcing opposite modes of expression, the composer has aimed to force the listener to stretch their own sensibility. Work for Cello and Electronics which was premiered by Anssi Karttunen at the Musica Nova Festival, Bremen in May 1988.

SEK 350.00
1

Jean Sibelius: Humoresque IV Op.89 No.2 (Violin/Piano)

Jean Sibelius: Humoresque IV Op.89 No.2 (Violin/Piano)

Among the best of Jean Sibelius? oeuvre are his 1917 compositions, the Humoresques. This fabulous and charming concerto was divided into two groups for publication, Opus 87 and Opus 89, and demonstrates his sublime skill with the Violin. He used a considerably smaller Orchestra accompaniment to the Violin in the second group but maintained the subtlety of depth and texture. Though there are traditional elements to all parts of this opus, Humoresque No. 4 harks back to the past the most, reminiscent of the delicacy of mid-nineteenth century musical miniatures. Virtuosic and challenging, the soloist has the opportunity to indulge in a more traditionally exhibitionistic display. This work features a seperate Violin part with a Piano reduction of the String Orchestra by Karl Ekman.

SEK 197.00
1

Studium

Studium

Poul Ruders STUDIUM: Concerto for 2 percussionsoloists and OrchestraAs indicated in the Latin title STUDIUM, this concerto is a study or etude for virtuoso percussion and orchestra and a composer?s studium of the meticulous and patient building up a huge structure based on a very tight and sparse material. The title originally means and undertaking done with ardour and the wish to strive for the highest possible goal, a natural aim in any artistic endeavour. The orchestra and the soloists work in a body towards the off-centre placed climax, the technical level of the soloists increasing form ensemble status to stupefying virtuosic display, whereas the orchestra maintains its tightly composed surround-sound. What then happens shall remain a surprise.Poul Ruders

SEK 1124.00
1

Poul Ruders: Break-Dance (Score)

Poul Ruders: Break-Dance (Score)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

SEK 399.00
1

Poul Ruders: Break-Dance (Parts)

Poul Ruders: Break-Dance (Parts)

Break-Dance is an obvious next of kin to the two Clarinet trios Vox In Rama and Tattoo For Three. This piece, however, combines the roaring despair of the first trio with the twisted rhythmical display of the latter. The title, of course, is a reference to the modern street-dance electric boogie, but the very music itself takes the naming most literally indeed: formally and rhythmically, after a straightforward head-on opening, it breaks into isolated, jagged fragments, winding up in a bouncing piano cadenza. Albeit not an obvious piano concerto, the piano part hovers in the front line, the same way the horizontal guy, ringing himself on the pavement, is doubtless an eye-catcher to passers-by. The springy 'body-language' that kicks off the piece suddenly stiffens and freezes into hard-edged blocks and the real 'dance of breaks' emerges into focus. Break-dance is commissioned by and dedicated to Yvar Mikhashoff and Spectrum. Arranged for 2 Trumpets, 3 Trombones, and Piano.

SEK 981.00
1

Hans Abrahamsen: Stratifications (Full Score)

Hans Abrahamsen: Stratifications (Full Score)

Stratifications was composed by Hans Abrahamsen in 1973-75 and was premiered in the summer 1977 by the Iceland Symphony Orchestra at the Young Nordic Music Festival in Reykjavik. Programme note: The stratifications referred to in the title unfold two different levels. There is the stratification of the time dimension produced by the opposition of contrasting parts; at the same time the polyphony, the presence of several simultaneously sounding layers, is of great importance to the music. By garish colours and clear-cut outlines a polyrhythmic simultaneousness of simple melodies is produced with more gestic music and other material which give a peculiar “set piece-like” effect in the sound picture. The “new simplicity” details are here woven together in a new kind of complex whole.“Stratifications” begins with a series of concretistic masklike “pictures of the music”. It is like seeing lantern slides. But this “fictive” form crackles and the music gets attentive and real. The music is in a night-mare condition, where it is not getting anywhere in spite of a great dynamic display. But finally is liberating itself and rising “in triumph”.

SEK 514.00
1