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Herbert Hamilton Harty's Fanfare is a very short work for 4 trumpets and side drum. It was written in 1921.
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https://www.youtube.com/watch?v=uyJjQmn45zo
Adagio for Strings was written between February and March of 2021. The idea of writing it originally stemmed from when I uploaded Wozzeck, after hearing the orchestral interlude towards the end, and this is what I ended up with. It is mostly inspired by Berg, Mahler and Wagner, and while it isn't my first composition (I have written other things in the past, namely a string quartet, some orchestral sketches and some solo stuff for piano and violin), I have decided to call it my Opus 1, as a sort of starting point for any other compostitions I do in the future. I hope you enjoy!
(Performed by Musescore midi sound)
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https://www.youtube.com/watch?v=CpATP8_1XyA
Franz Liszt - Symphonic Poem No. 9: 'Hungaria', S.103, for symphony orchestra (1854)
London Philharmonic Orchestra
Conductor - Bernard Haitink
Franz Liszt wrote his symphonic poem Hungaria in 1854, basing it partly on the Heroic March in the Hungarian Style for piano which he wrote in 1840. It was premiered under Liszt's baton at the Hungarian National Theater in Budapest on September 8, 1856, where it achieved an enormous success. "There was better than applause," the composer later wrote. "All wept, both men and women!" He was reminded with that scene of the proverb that "tears are the joy of the Hungarians."
https://en.wikipedia.org/wiki/Hungaria_(Liszt)
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https://www.youtube.com/watch?v=UhwzdyJ6wV8
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Timur Alexandrovich Ismagilov - Album Leaf (1999)
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https://www.youtube.com/watch?v=RuFK2dz2WFY
Henri Dutilleux - Sur le même accord, nocturne for violin and orchestra (2002)
Dedicated to Anne-Sophie Mutter
Seattle Symphony Orchestra
Conductor - Ludovic Morlot
Violin - Augustin Hadelich
Sur le même accord (On only one chord) is a piece by the French composer Henri Dutilleux for solo violin and orchestra. It was composed for the violinist Anne-Sophie Mutter, and was premiered by her on 28 April 2002 in London with the London Philharmonic Orchestra conducted by Kurt Masur. The piece lasts about 10 minutes in performance.
Dutilleux describes the piece as "a nocturne-like work". The one movement consists of an introduction followed by an alternation of rapid music and slow, lyrical passages: Introduction – Rapid Music – Lyrical Section I – Rapid Music – Lyrical Section II – Rapid Music.
The entire piece is based on one six-note chord, heard at the beginning of the piece, which is manipulated in various ways. The chord has the property of all-combinatoriality, and Dutilleux uses this property several times to create an aggregate. The piece also features the Dutilleux trademark of mirror writing, which can be heard in several passages. The work is tonally centered on G, which is established by assertion, most notably by the repeated use of the violin's low open G.
https://en.wikipedia.org/wiki/Sur_le_m%C3%AAme_accord
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https://www.youtube.com/watch?v=3g4Vmhhq5gk
Brian Ferneyhough - Firecycle Beta, symphonic torso for two pianos and two orchestras with five conductors (1971)
hr-sinfonieorchester (Frankfurt Radio Symphony Orchestra)
Conductors - Lucas Vis, Lennart Dohma, Konradin Herzog, Etienne Siebens, Scott Voyles
Pianos - Tomoko Hemmi & Yukiko Sugawara
INSTRUMENTATION
ORCHESTRA 1:
Piano 1
Ensemble 1: [harp, cimbalom, amplified viola, amplified cello, amplified double bass, electronic organ, timpani, 3 percussion]
String Group 1 (30 players)
ORCHESTRA 2:
Piano 2
Ensemble 2: [harp, amplified guitar, amplified viola, amplified cello, amplified double bass, harpsichord (+ celesta), timpani, 3 percussion]
String Group 2 (30 players)
5 conductors: (1 main, 4 subconductors for the ensembles + string groups)
Alleluiah IIa – 0:00
Alleluiah IIb – 0:48
Processional II – 3:06
Trope II – 7:43
Fanfare III – 9:44
Alleluiah IIIa – 10:00
Alleluiah IIIb – 10:57
Alleluiah IIIc – 11:28
Antiphon II – 11:48
Sequence IIa – 14:42
Sequence IIb – 17:19
Alleluiah IV – 18:37
Alleluiah IVb – 20:25
Amen IIa – 22:00
Amen IIb – 24:44
Amen IIc – 25:30
(yes I am aware that the score is pretty much unreadable, however I hope this video provides an insight into the general structure of the score, and it is still fairly accurate, so if you happen to have your own score you can follow along using the frame changes in the video)
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https://www.youtube.com/watch?v=Wo5JCooKB_o
Mark Andre - riss 2, for ensemble (2014)
Ensemble Modern
Conductor - Ingo Metzmacher
Born in Paris in 1964, the composer Mark Andre is considered a sensitive sound researcher. His music often touches the inaudible, breathing the spirit of utopia. This utopian spirit is also apparent in the group of works ›riss‹, in which the composer sets out three times in search of compositional inbetween spaces. »Riss«, meaning tear or rift, is an intermediate place, a space that separates but also conjoins what belongs together. The rift represents a moment of emptiness, but is also filled with events and experiences. In 2011 Mark Andre encountered the theologian Margareta Gruber while on a research trip to Jerusalem. Her essay ›Der Vorhang zerreißt‹ (The Curtain Tears), in which she points out the double figure of the rift in the Gospel according to Mark, delivered the decisive impulse for composing the group of works ›riss‹, which Mark Andre is writing in a non-numerical manner. In 2014, ›riss 2‹ was premiered by Ensemble Modern; it was followed in 2016 by the premiere of ›riss 3‹ by Ensemble Musikfabrik and in 2017 by that of ›riss 1‹ by Ensemble intercontemporain. Now Ensemble Modern first performs all three works on one evening, led by Ingo Metzmacher: on January 25, 2019 at Cologne’s Philharmonie, on May 2, 2019 at the Alte Oper Frankfurt, on September 7, 2019 at the Klangspuren Schwaz and on September 14, 2019 in Shanghai. ›riss‹ poses the question of the cohesion between individual elements, of unity within plurality – enabling the audience to observe the process of corresponding parallels in content and sound which arise between the works as the triptych takes on shape.
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https://www.youtube.com/watch?v=EW-ZEZ93mRI
Mark Andre - riss 3, for ensemble (2016)
Ensemble Modern
Conductor - Ingo Metzmacher
Born in Paris in 1964, the composer Mark Andre is considered a sensitive sound researcher. His music often touches the inaudible, breathing the spirit of utopia. This utopian spirit is also apparent in the group of works ›riss‹, in which the composer sets out three times in search of compositional inbetween spaces. »Riss«, meaning tear or rift, is an intermediate place, a space that separates but also conjoins what belongs together. The rift represents a moment of emptiness, but is also filled with events and experiences. In 2011 Mark Andre encountered the theologian Margareta Gruber while on a research trip to Jerusalem. Her essay ›Der Vorhang zerreißt‹ (The Curtain Tears), in which she points out the double figure of the rift in the Gospel according to Mark, delivered the decisive impulse for composing the group of works ›riss‹, which Mark Andre is writing in a non-numerical manner. In 2014, ›riss 2‹ was premiered by Ensemble Modern; it was followed in 2016 by the premiere of ›riss 3‹ by Ensemble Musikfabrik and in 2017 by that of ›riss 1‹ by Ensemble intercontemporain. Now Ensemble Modern first performs all three works on one evening, led by Ingo Metzmacher: on January 25, 2019 at Cologne’s Philharmonie, on May 2, 2019 at the Alte Oper Frankfurt, on September 7, 2019 at the Klangspuren Schwaz and on September 14, 2019 in Shanghai. ›riss‹ poses the question of the cohesion between individual elements, of unity within plurality – enabling the audience to observe the process of corresponding parallels in content and sound which arise between the works as the triptych takes on shape.
Join the Score Video Creator Discord Server:
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https://www.youtube.com/watch?v=ET3yLcEoGoM
Anton Bruckner - In Jener Letzten Der Nächte, WAB 17
Soprano - Ludmila Kuznetzova
Organ - Ludmilla Golub
In jener letzten der Nächte (In this last of nights), WAB 17, is a motet composed by Anton Bruckner. Bruckner composed the motet in c. 1848 at St. Florian Monastery for the celebration of Maundy Thursday. However, it is not known whether it was performed at that time. It was edited first by Anton Böhm & Sohn, Augsburg & Vienna, 1931.
There are two settings: one for soloist and organ, and another for mixed choir a cappella. The manuscript of the setting for soloist and organ is stored in the archive of the city museum of Wels. A transcription of the other setting is found in the Österreichische Nationalbibliothek.
The two settings of the motet are put in Band XXI/15 of the Gesamtausgabe.
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https://www.youtube.com/watch?v=DCPPLk55uig