RESPONSORIA DANICA FSL 40

RESPONSORIA DANICA FSL 40

Cadentia Nova Danica: August 1966, Jazzhus Montmartre

Saxophonist John Tchicai returned home to Denmark in 1966 after four years in New York, where he had made himself one of the most prominent members of the avant-garde movement that had become known as the New Thing. He then formed the Cadentia Nova Danica ensemble with young Danish musicians who were already playing together: Tchicai assumed the role of mentor for the experimental group, who learned to navigate the unorthodox technical demands and wild emotions of the controversial new sound. Tchicai also allowed band members Karsten Vogel (who later formed Burnin’ Red Ivanhoe) and composer Finn von Eyben to add their own compositions to the repertoire, thereby helping them establish the foundation of their musical careers which soon flourished. On this live recording, they prove themselves worthy as conceptual and creative equals of their most advanced contemporaries in other European countries. The music they played on this first public appearance radiates passionate honesty and intense humanity. Richard Williams’ liner notes explain: “ Although in some respects very characteristic of its era, [the music] communicates its raw and heartfelt beauty across the decades with undimmed strength, still reaching out in hope to an unknown future ”. Cadentia Nova Danica ’s 1966 concert is a wonderful gem and, finally, no longer a hidden one.

La Flora : for chamber ensemble

Alvin Singleton’s La Flora is inspired by the figure of the goddess Flora, a character painted in the mysterious 15th century Botticelli masterpiece La Primavera with its mysterious and sexy gathering of Greek goddesses, gods, and nymphs. Opening and growing mysteriously like some strange spring flowering, this 1983 Singleton work begins with 3 soft, quickly-stated tones that hold in a tense augmented chord. It is as if we listeners had walked in on something serious ensuing. The listener is already hooked. The 3-note idea, next scalar, seems to blossom into a 4-note idea with the composer extracting large amounts of suspenseful music from them. Instruments entersoloistically, often in long lyrical confessional-sounding lines that are frequently assaulted by acrid percussion instruments, notably maracas. This drama grows methodically through long tones and well-placed, well-paced repetitions, as the listener waits, still in suspense. Then suddenly at mid-point the work explodes into long passages of tremolandi and repeated figures of aggressive nature. Finally a soft vibraphone solo leads all into a pensive and resigned section closing this brief but effective work.– Carman Moore, 2014

Poul Ruders: Four Compositions (Score)

'Four Compositions' is a virtuoso chamber concerto written in 1980 and commissioned by the Danish ensemble Musica Danica. Each of the four movements explores a specific kind of music.

Knud Jeppesen: La Flora III

Some duets for High/Med Voices. Arias and songs by Caccini, Cavalli, Cifra, Falconieri, Handel, Marcello, Vitali, Vivaldi. Duets by Carissimi, Cavalli, Cifra, Colonna, Durante, Frescobaldi, Gagliano, Handel, Monteverdi, Sances, Vitali.

Knud Jeppesen: La Flora Volume 1

A collection ranging from c.1600 to c.1750, surveying the great period of Italian Bel Canto writing. Arias and songs by Busatti, Buzzoleni, Caccini, Calestini, Carissimi, Cavalli, Frescobaldi, Gagliano, Handel, Manzia, Monteverdi, Pasquini, Pietragrua and more.

Knud Jeppesen: La Flora Volume 2

Arias and songs by Albinoni, D'Astorga, Berti, Biancosi, Busatti, Bozzoleni, Falconieri, Gagliano, Handel, Mancini, Melani, Monteverdi, Pasquini, Peri, Perti, Pesenti, Porpora, Rontani, A. Scarlatti, Sances, Strozzi, Vitali, Zonati.

John Danby: Fair Flora Decks Atb/Piano

Wilbye Flora Gave Me Fairest Flowers Ssa

Ciro Pinsuti: Tell Me, Flora Satb/Piano

John Wilbye: Flora Gave Me Fairest Flowers Ssatb

Laurindo Almeida: Guitar Trios, Volume 3

This collection includes Legendary guitarist Laurindo Almeida?s guitar trio arrangements on Rio Rhapsody, Flora and Retratos (Pixinguinha, Ernesto Nazareth, Ancleto Medeiros and Chiquinha Gonzaga.) The score and 1st guitar part are available in hard copy.

The Kander And Ebb Collection

Forty selected songs, in new arrangements authorised by the songwriters, spanning the career of Broadway's longest-running songwriting team. Includes songs from Flora, The Red Menace, Cabaret, Zorba, Funny Lady, Chicago, New York, and Kiss Of The Spider Woman.

Paul Mealor: Stepping Stone (For Solo Soprano And Harp)

Stepping Stone was written by Paul Mealor for the charity ?Maggie?s? and was first performed at the new Maggie?s Centre, Aberdeen by Jillian Bain Christie (Soprano) and Flora Bramwell (Harp) in the presence of HRH The Duchess of Cornwall.

Twelve Madrigals

Contents: 'In Going To My Lonely Bed', 'The Cricket, Fair Phyllis', 'Those Dainty Daffadillies', 'Ah, Look Upon These Eyes', 'Tell Me', 'What Master Hand', 'He's A Pretty Cuckoo', 'Lo! Country Sports', 'Thus Sings My Dearest Jewel', 'Flora Gave Me Fairest Flowers' and 'Sweet Honey-Sucking'.

Aurora – 5 Original Piano Solos Inspired By The North

Five soulful solos that were “inspired by the northern sky, and in particular the Scandinavian landscapes of my own imagination,” writes Naoko Ikeda. Introspective pieces, yet full of warmth. Titles: Flora, Ethereal Summer, Land of the Midnight Sun, Aurora, A Sea of Clouds. Includes performance notes.

Scottish Folk Song Suite : No. 3 Skye Boat Song

The Isle of Skye, off the northwest coast of Scotland, was home to Flora MacDonald, made famous by aiding the escape of Bonnie Prince Charlie following his defeat at the Battle of Culloden in 1746. The Skye Boat Song is not only anarrative. It is also a tribute to the Romantic history of Scotland and one of its great heroines and a nostalgic reminder of the greatness of the Scottish way of life and its traditions. No. 3 from Kesselman's Scottish Folk SongSuite.

Sadie Harrison: Sextet: "In Divers Knottes..."'

Sextet: "In Divers Knottes..." for Clarinet, Piano, Percussion, Violin, Viola and Cello. Composed 1998, published 2000. Duration: 16 minutes. This piece has had several working titles, the longest being Asteroceras obtusum (after a coiled fossil found during a summer visit to Lyme Regis), the most cynical, RAE III, and Flying Starts suggested by a colleague during a conversation about the importance of writing music that “takes off”! I decided on a title that conveyed something o the tangled contrapuntal nature of the piece, taken from an extended text by Stephen Hawes (The Historic of Graunde Amoure and la Bell Pucel, 1554) : With Flora paynted and wrought curiously in divers knottes. With many dragons of marveylos likenes Of divers floures made, full craftely By Flora couloured, with colours sundrye . The piece is episodic and is constructed from three principal textures – the opening music which introduces the only theme of the piece and which is never heard again in this form, the fast and increasingly hectic music which grows as the thee proliferates into several knotted variations of itself, and the very slow music which occurs twice as stark contrast to the surrounding material. Written last and within sight of the deadline, this music leaves some of the decisions to the players – the last gasps of the composer and the gathering energy within the piece! - Sadie Harrison

Ewige Evangelium Ka

Vecné evangelium / The Eternal Gospel Cantata for Solo Voices, Mixed Chorus and Orchestra Leoš Janácek’s great oratorio “The Eternal Gospel”, for soprano, tenor, mixed chorus,and orchestra, is based on a medieval legend in which an angel announces the coming of the Kingdom of Love on Earth to a Cistercian monk, Joachim of Flora. Janácek set the text as a dramatic scene with two characters. Thechorus unfolds as a contrasting foil to the two main figures until the final climax, when the people sing “Alleluia” and receive the message of the brotherhood of all creation. The Eternal Gospel occupiesaspecial place in Janácek’s œuvre. The dream-like atmosphere and emotional force of this twenty-minute cantata cast an unusually powerful spell. It originated during a time of turmoil: Janácek wrote it inspring 1914 on the eve of the First World War, and the première took place in Prague in February 1917. In 1924 Janácek revised the cantata yet again for a festive performance on the occasion of his seventiethbirthday. The vocal score has been prepared by Leoš Faltus, one of the two editors of the volume for the Janácek Complete Edition (series B/volume 4). - Urtext Janacek Complete Edition - Fullscore (BA6860) and vocal score (BA6860-90) available for sale - Performance material (BA6860-72) available for hire

Poul Ruders: Nightshade (Full Score)

Ruders writes: NIGHTSHADE is an instrumental dark-room, a grave-yard of low-pitched, tight-knitted, crawling chords sliced asunder by the cold extremely high positioned movements of the oboe and violin in particular: tones sustained to near-immobility and then scared into startling velocity, like geckoes on a Southern garden wall. Shades in the night are pale and gloomy phenomenons to behold; treacherous beauties in the mighty realm of invisibility and blackness. Belladonna (beautiful lady) is the morbid christening of that fearsome variety of flora: the deadly nightshade. The piece is, on one hand, a study in extreme sonorities; the infrequently used contrabass clarinet is being employed along with the contra-bassoon, forming the ultra-low foundation of the score and the bottom-register of the French horn and the trombone is set against the serene clarity of high violin and oboe. On the other hand, the piece is a tone-poem of sorts, on the various associations as they form within the mind of the individual listener when confronted with the very word NIGHTSHADE. Personally, I come to think of pale moonlight, tombstones, the compelling as well as frightening spell of a dark forest. A Study in black the piece has been called.

Playing the Blues: Blues Rhythm Guitar

This in-depth blues rhythm guitar text is core curriculum of the University of Southern California's Studio Guitar Department, which is part of the prestigious Flora L. Thornton School of Music, located in Los Angeles, California. It features eighteen twelve-bar blues rhythm guitar accompaniments in the style of guitarists such as Chuck Berry, Eric Clapton, Jimmy Page and Stevie Ray Vaughan. Nine of the songs use a shuffle feel and nine use a straight eighth note feel. The play along CD contains two versions of each of the eighteen songs in the book. The first version has the guitar part and the second version is without the guitar. This gives you the ability to play along with the guitar part as a guide and also to play along with the track as the only guitarist. The examples are written using traditional musical notation and tablature. Included for each song is a short description of the important points to consider when learning each example. The book presents songs that will expand the guitarist's vocabulary by presenting a variety of different ways a guitarist can play through the twelve bar blues. A number of different chord variations, keys and tempos are used in demonstrating these eighteen idiomatic rhythm guitar parts that have been used by the masters.

Frank Potenza/Nick Stoubis: Fingerboard Mastery, Book One - Scales & Arpeggios

This in-depth scale and arpeggio text is core curriculum at the University of Southern California's Studio Guitar Department, which is part of the prestigious Flora L. Thornton School of Music, located in Los Angeles, California. Using a comprehensive approach that includes three different organizational systems, it covers the technical foundation that is necessary for playing any style of music. The CAGED system (five positions), the Finger Stretch system (all twelve keys in one position) and the Three-Note Per String system (seven patterns) are examined. Although each of these three systems is examined, the CAGED system serves as the basis for much of the material covered in this book.Instead of traditional musical notation, the book uses fingerboard diagrams to focus on the visual aspect of the patterns. The goal is to present an approach to understanding and mastering the fingerboard by outlining the best and most practical elements of these different systems. Book One presents patterns for the major scale and its relative modes, the major pentatonic scale, the minor pentatonic scale, and the blues scale. Along with these scale forms, patterns for arpeggios that are for the most part diatonic to (in the key of) the major scale are presented. These include major, minor, diminished and augmented triads, and also major 7, dominant 7, minor 7, minor 7(ó5) , and diminished 7 chords.

Outback

This work was commissioned by the "Österreichische Blasmusikjugend" (Austrian Brass Band Association - Young Musicians).The Aboriginal indigenous people of Australia are among the oldest surviving human cultures. The arrival of the Europeans markedtheir decline and endangered their existence. The many secrets the Aborigines hold served as inspiration for this work. Aboriginal SpiritOver many centuries, the Aboriginal people have cultivated a unique ability to live in harmony with theworld around them. Maintaining the deli¬cate balance between their trinity - nature, man, and creation - is an important factor for bliss and happiness.Primeval Sound and Dreamtime The tens of thousands-year-old stories from the era calledDreamtime - the Aborigines’ creation myth - play an important role in not only their be¬liefs, but their everyday lives and laws as well. Ancestral worship and various other rituals and ceremonies are still held in high regard to this veryday.Running HunterThe Aborigines are extremely skilful hunters and are able to run for extended periods of time when chasing their prey. Hunting weapons, such as the boomerang, exemplify their abilities.Uluru (Red Rock)Uluru, also knownas Ayers Rock, is a natural sandstone “inselberg” rising 348m above Australia’s plains, and is one of the country’s most recognisable icons. Uluru is also a sacred place for the local Aborigines. Its history stretches back to Dreamtime, although itdid not exist in its current state at that time.Encounter with the White MenUnfortunately, the “White Men” did not realize the significance and importance of the Aborigines and their culture until the end of the 20th century. Before then, theywere unaware that the Aborigines were quite possibly one of the oldest known cultures on earth, with a seamless history stretching back to creation itself; Dreamtime. BushfireFire has been present on the Australian continent for millions ofyears. Many of the indigenous flora and fauna have needed to adapt to fire, and evolution has led to unique solutions for survival. Over time, a complex symbiotic relationship has grown between life and the continually returning bushfire.

Outback

This work was commissioned by the "Österreichische Blasmusikjugend" (Austrian Brass Band Association - Young Musicians).The Aboriginal indigenous people of Australia are among the oldest surviving human cultures. The arrival of the Europeans markedtheir decline and endangered their existence. The many secrets the Aborigines hold served as inspiration for this work. Aboriginal SpiritOver many centuries, the Aboriginal people have cultivated a unique ability to live in harmony with theworld around them. Maintaining the deli¬cate balance between their trinity - nature, man, and creation - is an important factor for bliss and happiness.Primeval Sound and Dreamtime The tens of thousands-year-old stories from the era calledDreamtime - the Aborigines’ creation myth - play an important role in not only their be¬liefs, but their everyday lives and laws as well. Ancestral worship and various other rituals and ceremonies are still held in high regard to this veryday.Running HunterThe Aborigines are extremely skilful hunters and are able to run for extended periods of time when chasing their prey. Hunting weapons, such as the boomerang, exemplify their abilities.Uluru (Red Rock)Uluru, also knownas Ayers Rock, is a natural sandstone “inselberg” rising 348m above Australia’s plains, and is one of the country’s most recognisable icons. Uluru is also a sacred place for the local Aborigines. Its history stretches back to Dreamtime, although itdid not exist in its current state at that time.Encounter with the White MenUnfortunately, the “White Men” did not realize the significance and importance of the Aborigines and their culture until the end of the 20th century. Before then, theywere unaware that the Aborigines were quite possibly one of the oldest known cultures on earth, with a seamless history stretching back to creation itself; Dreamtime. BushfireFire has been present on the Australian continent for millions ofyears. Many of the indigenous flora and fauna have needed to adapt to fire, and evolution has led to unique solutions for survival. Over time, a complex symbiotic relationship has grown between life and the continually returning bushfire.