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Blind Men

Symphony No. 11 Op. 186 (All Men Are Brothers)

gadji beri bimba

Hugo Ball was one of the founders of the Zurich Dada movement and wrote this poem for a performance at Zurich’s Cabaret Voltaire in 1916. A nonsense poem, its words have no actual meaning, merely constituting an absurd sequence of sounds. On 23 June 1916 Ball noted in his diary: Tinvented a new type of poetry, “poetry without words” or sound-poems, in which the distribution of vowels is decided and allotted solely based on the values of the initial row.’ The performance of his poem, to an astonished audience, took place in a quasi-sacred atmosphere, with Ball delivering his verses in a deliberately over-serious and solemn manner. The intention of this setting is not to mimic the nonsensical nature of the poem, but to provide a contextual frame against which the absurdity of the text becomes more and more evident.Hugo Ball was one of the founders of the Zurich Dada movement and wrote this poem for a performance at Zurich’s Cabaret Voltaire in 1916. A nonsense poem, its words have no actual meaning, merely constituting an absurd sequence of sounds. On 23 June 1916 Ball noted in his diary: Tinvented a new type of poetry, “poetry without words” or sound-poems, in which the distribution of vowels is decided and allotted solely based on the values of the initial row.’ The performance of his poem, to an astonished audience, took place in a quasi-sacred atmosphere, with Ball delivering his verses in a deliberately over-serious and solemn manner. The intention of this setting is not to mimic the nonsensical nature of the poem, but to provide a contextual frame against which the absurdity of the text becomes more and more evident.

Mechaye Hametim (Revival of the Dead) : Symphony for tenor, Baritone, Youth Choir, Men Choir and Orchestra

Fantasistykker (Fantasy Pieces) Op. 39

Agathe Backer Grøndahl – Fantasistycken Op. 39 – Piano (Urtextutgåva) Agathe Backer Grøndahl är mest känd som en av Norges främsta pianister under 1800-talet, men hennes egna kompositioner har länge förblivit i skymundan. Med Fantasistycken Op. 39 träder hennes musikaliska geni fram i ljuset – ett verk som imponerar med sin personliga stil, lyriska skönhet och en klangvärld som stundtals närmar sig impressionismen. Verket publicerades första gången 1896 men har varit ur tryck i många år. Denna första Urtextutgåva, redigerad av pianisten Christian Grøvlen, återställer noterna i enlighet med originalet och gör musiken tillgänglig för dagens pianister och musikälskare. Styckena rör sig mellan poetiska reflektioner och teknisk briljans – perfekt för den avancerade pianisten som söker nya uttryck i det romantiska och nordiska klaverlandskapet. Passar för: Konsertrepertoar och högre pianostudier Utforskning av bortglömda romantiska verk Älskare av nordisk klavermusik

I Blaafjellet (In the Blue Mountains) : Fairy Tale Suite Op. 44

Upptäck den fascinanta världen av Agathe Backer Grøndahls musik med den nyutgivna Urtextutgåvan av "Märchensuite" I Blaafjellet, Op. 44. Denna samling av sex virtuosa pianostycken, inspirerade av norska mytologiska varelser, uppvisar en sällsynt originalitet och skönhet som speglar kompositörens djupa förståelse för både teknik och känsla. Trots att Backer Grøndahl främst är erkänd som en framstående norsk pianist, har hennes kompositioner ofta hamnat i skuggan av detta rykte. Denna första Urtextutgåva, noggrant redigerad av Christian Grøvlen och baserad på den ursprungliga utgåvan från 1896, ger både musiker och lyssnare en unik möjlighet att utforska denna vackra, men förbisedd repertoar. Perfekt för pianister och konstmusiken entusiaster som vill bredda sin kunskap och uppskattning för norsk musikaliskt arv.

Tone Development Through Interpretation : for the Flute

Marcel Moyse – Tone Development Through Interpretation "Tone Development Through Interpretation" av flöjtisten och pedagogen Marcel Moyse är en ovärderlig samling av 90 melodiska fraser, noggrant utvalda för deras pedagogiska värde. Styckena är organiserade efter register, dynamik och andra musikaliska egenskaper, vilket gör det lätt för studenter att fokusera på specifika aspekter av sitt uttryck och teknik. Verket är ett oumbärligt hjälpmedel för alla som studerar tvärflöjt, men är också mycket användbart för musiker som spelar andra blåsinstrument. Genom utdrag från sånger, operor och orkesterrepertoar får utövaren möjlighet att utveckla sin ton och tolkning på en djupare nivå. Som ett komplement innehåller volymen pianokomp till nio av de mer omfattande utdragen, vilket öppnar för övning i samspel och dynamisk kontroll. Den ursprungliga utgåvan av "Tone Development Through Interpretation", som länge varit eftertraktad av flöjtister världen över, finns nu tillgänglig globalt genom Edition Peters i samarbete med McGinnis Marx. Denna upplaga bevarar den unika kvalitet och anda som gjort boken till en klassiker inom flöjtundervisning.

Songs of Darkness, Dreams of Light

When the BBC commissioned this work for the Last Night of the Proms 2018, I was given quite a detailed brief. First, the work should be for the BBC Singers and BBC Symphony Chorus (with the BBC Symphony Orchestra), and the two choirs should be quite independent of each other. Secondly, the words should acknowledge the centenary of the end of World War I, but look optimistically to the future. For the centenary I chose In the Underworld by World War I poet Isaac Rosenberg, written in 1914. Originally about unrequited love, it can read, if you do not know its context, as a prophetic look at the next four years, with the sense that the women left at home cannot begin tocomprehend the horrors their men face in the trenches. The BBC Singers represent Rosenberg and their music is based on a beautiful Ashkenazi-Jewish prayer mode – also known as the ‘Ukrainian Gypsy’ mode. While I was reading The Prophet by Kahlil Gibran (written in 1923), I came across these lines, which seem to answer and assuage the fears expressed in Rosenberg’s poem. The BBC Symphony Chorus take on the role of Gibran, singing in a beautiful, melismatic, Maronite Syriac chant, into which faith Gibran was born in Lebanon. Later in his life, he became very interested in Islam, particularly Sufism; therefore the whole piece is in the form of a Sufi Zikr, with Sufi devotional rhythms in the percussion, starting quiet and low, but slowly becoming higher, faster and louder. The two choirs start separately, but merge into a ‘conversation,’ sometimes overlapping, and ending on a positive note: Rosenberg’s Creature of light and happiness over Gibran’s We shall build a tower in the sky. Quite by accident, all three Abrahamic faiths are represented in this piece – but as Kahlil Gibran famously said: ‘You are my brother and I love you. I love you when you prostrate yourself in your mosque, and kneel in your church and pray in your synagogue. You and I are sons of one faith – the Spirit.'

Since We Parted

When Jeffrey Skidmore of Ex Cathedra approached me to write this piece, he specified that it should be remembering the first World War and, if at all possible, the words should be by or about a woman.A friend steered me towards Vera Brittain's Testament of Youth and, spookily, the book fell open on page 163 where appeared Kathleen Coates' s poem "A Year and a Day". This was written between 1910 and 1913 but is, I think, prophetic of the impending war in its depiction of a woman and man in love, reluctantly separated and missing each other. Around the same time, my mother sent me the poem 'Since we parted, yestereve' by Victorian statesman and poet Robert Bulwer-Lytton(1831-1891) — it seemed to fit beautifully as a refrain to 'A Year and a Day'.We start with the refrain in which I try to create a sense of yearning — with harmonies that lean into each other and suspensions that only partly resolve. I have given the ladies the first verse of 'A Year and a Day' — I have used mellow flat keys as this is marked "languorously" as I picture a calm but pining Edwardian lady, reclining in a warm, English Summer's garden. When the men take over in the second verse this comes from a darker place — maybe a noisy, fetid trench where dreams of love and happiness are sometimes hard to conjure. The music shifts in harmonic uncertainty — the harp oscillates and rumbles, creating instability. This part is written in sharp keys which, I think, have a more stringent feel about them. The whole piece is made up of my typical major-minor harmonic language which sets a bittersweet atmosphere and the trumpets remind us, from time to time, of the backdrop of war. The piece ends meditatively, with 'Eleven Armistice Chimes' and lasts approximately 10 minutes. It's dedicated to Jeffrey Skidmore and Ex Cathedra and my deepest thanks go to them for commissioning the work and Jane Arthur for sponsoring the commission.

Arion and the Dolphin

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to bebringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At the end of his song, he jumps overboard, and one of thedolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In RobertGraves’account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after hisrescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  Thisis one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to writea choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create anatmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, hadsuggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldlyquality of this