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John Corigliano: Stomp For Scordatura (Violin Solo)

John Corigliano: Stomp For Scordatura (Violin Solo)

A note from the composer: What to include in a competition piece in 2011? One could write a virtuoso étude or a lyrical essay: but the judges will have dozens of pieces that demonstrate these virtues. I thought a more interesting piece would test a performer’s imagination, intelligence and musicality by offering interesting new problems to solve. Hence, this unaccompanied six-minute study I call Stomp . Stomp poses its player three problems; of ear, style, and coördination. First, the violin’s outer two strings are tuned to non-standard pitches. This mis-tuning (scordatura) deepens the instrument’s range, and replaces the usual perfect fifths between strings with grating dissonances high and low. Second, the piece is modeled not on classical precedents, but on American fiddle music — bluegrass and jazz. And third, as in fiddle playing, the violinist must periodically stomp with his or her foot along with the music. So Stomp demands a theatrical mind, an unerring ear, and a delight in making music with the entire body. It is supposed to be fun for the audience, and a workout for the soloists. I can’t wait to hear them play it.

DKK 158.00
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Charles Ives: Symphony No.3 'The Camp Meeting' (Score)

Charles Ives: Symphony No.3 'The Camp Meeting' (Score)

Charles Ives' Third Symphony, ?The Camp Meeting? is the most concisely-scored of his five symphonies. Containing only Strings, a few Winds, Horns and Trombone this is a clear and uncluttered reminiscence of nineteenth century America as viewed through some of its traditional hymn tunes, and in doing so evokes the old 'camp meetings' which were such a feature of pioneer life. The first movement, ?Old Folks' Gatherin'? is a patchwork of hymn tunes drifting through an unpredictable, constantly changing harmonic orientation. After a climax is reached, a quiet passage opens with oboe and flute over hushed, distant strings. Ives reintroduces part of the middle section, and settles down to a quiet coda, ending the movement almost imperceptibly. The second movement, ?Children's Day? opens with strings in two parts over Haydnesque eighth notes in the horns. ?There is a Fountain Filled with Blood?, ?Happy Land?, ?Naomi?, and ?There's Music in the Air? all are heard. As this is a movement depicting children at play, Ives is playful himself, weaving hymn tunes into one another in a somewhat tongue-in-cheek manner. The third movement, ?Communion? is darker in tone than the others and provides a psychologically satisfactory close to the work as a whole. This is the 1990 edition of the Score, The Charles Ives Society Critical Edition, edited by Kenneth Singleton and reprinted in 2001. It contains substantial notes on Ives and this work.

DKK 368.00
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Pietro Mascgani: Cavalleria Rusticana (Libretto)

Pietro Mascgani: Cavalleria Rusticana (Libretto)

Cavalleria rusticana (Rustic Chivalry) is one of the primary examples of Italian realism. It was both the best and worst thing that happened to Mascagni, for its success - never to be repeated - weighed upon the composer all his life. Based on Verga?s play of the same name, the libretto by Targioni-Tozzetti runs as follows: Lola and Turiddu had been lovers, but when Turiddu went away to battle Lola married Alfio. When Turiddu returned, he and Lola continued their affair secretly, while he tried to make Lola jealous by starting a casual affair with Santuzza, who fell genuinely in love with him. On Easter Sunday Santuzza, realising the affair, goes to see Turiddu's mother, Lucia, who keeps a tavern in the village. She is horrified to learn of her son?s infidelity and leaves for the church, just missing Turiddu who saunters in, thinking of his night with Lola. He is surprised and annoyed to find Santuzza there and the two begin to quarrel. Lola makes things worse by appearing and taunting Santuzza. Turiddu finally hits Santuzza and escapes.Santuzza tells Alfio of the illicit affair, whereupon Alfio flies into a rage and swears that he will avenge himself ? the code of honour requires Turiddu's blood to be shed. According to tradition, he refuses a glass of wine from Turiddu, indicating the dispute, and the two make plans to fight. Rushing into the tavern, Turiddu bids his mother her to take care of Santuzza. Mamma Lucia is alarmed, and as he rushes off, Santuzza enters and throws her arms around Lucia's neck, just as a woman screams that Turiddu has been killed.This is the Schirmer edition of the Libretto, in the original Italian with an English translation by Joseph Machlis.

DKK 102.00
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