For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of …

Towards the Night for flute and guitar. Par WESSMAN HARRI. Harri Wessman's Pan and the Nymph Pitys (1979) for flute and guitar bears the first symptoms of his later style, the texture being softly dissonant. In an old mythological dictionary the composer found that Pan had had some love affair with an other nymph than famous Syrinx as well, with Pitys (greek pine-tree). So the listener may think o…

Par ADES THOMAS. In Three Studies from Couperin, Thomas Adès empathetically reworks three pieces by the Baroque composer into music that is distinctively Adès without dismissing the source material. The basic structures of harmony and duration in ?Les Amusemens?, ?Les Tours de Passe-passe?, and ?L?Âme-en-Peine? remain unchanged, but the retouching of rhythm, texture and orchestral colours reveals …

Par SIBELIUS JEAN. The Suite is a student exercise, first performed 13. 4. 1889 at a musical soirée at the Helsinki Music Institute. Ferruccio Busoni, who was teacher of piano at the Institute at the time, described the first performance as follows: “We sharpened our concentration as we realised that we were about to hear something quite beyond the usual standard for student works…”. In the A majo…

Par HEINIO MIKKO. Mikko Heiniö's Alla madre (2007) abandons the traditional virtuoso concerto concept: here a large orchestra engages in dialogue with a solo violin. The first movement is called Arrivo, ?Arrival?: the soloist literally arrives later, and by degrees, playing his/her first two solos offstage. Even then the orchestra continues to take the initiative for a long time. Not until the sec…

Par PACHELBEL JOHANN. Magnificat for a Chorus of four mixed voices and Basso continuo Pachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal composition…

Par CHILCOTT BOB / KNIGHT SUSAN. 29 chants pour l'ASS accompagnés et non accompagnés Cette collection contient la voix supérieure des pièces originales et arrangements de partout dans le monde. Dans un grand éventail de styles, il ya la musique ici, pour convenir à tous les adultes ou les jeunes supérieur voix chorales. Le volume comprend des chants de compositeurs populaires et des compositions p…

Fragments K. 442. Par MOZART WOLFGANG AMADEUS. Mozart often began work on a composition only to put it aside, unfinished. Some of these fragments contain wonderful music, as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements, though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the compos…