A Choral Phantasy with orchestra, organ, soprano & baritone solo, Op. 38 (1929-30)
On Poetry by Conrad Ferdinand Meyer (1825-98), Richard Dehmel (1863-1920), Johann Wolfgang von Goethe (1749-1832), and Michelangelo Buonarroti (1475-1564)

I Chorus of the Dead (p. 5) – attacca:
II Reaper’s Song (= Chorus of the Living) (p. 22) – attacca:
III The Dance of Life (p. 35) – attacca:
IV Choral Adage (poem by Richard Dehmel) (p. 55) – attacca:
V Gretchen at the Shrine of our Lady of Sorrows (p. 61) –
VI Fugato and Chorus (poem by Michelangelo) (p. 68) – attacca:
VII Departure in the Light (p. 75) – attacca:
VIII Chorus of the Dead (p. 86)

It is one of the truly regrettable facts of music life that the former Iwan Knorr student Hans Pfitzner, with his openly anti-Semitic statements and his proximity to leading Nazis such as Hans Frank (1900-46), has largely catapulted himself of the beaten track of music history. Pfitzner represents an indispensable pole against the sensational art of orchestration of Richard Strauss, Gustav Mahler, Reznicek, Hausegger, Zemlinsky, Schreker, etc. as well as the sound sensation of chromatic harmony by Max Reger and Arnold Schönberg, to name only his most prominent contemporaries in the German-speaking world: the pole of inwardness, of internalization, of the brooding introversion of the Romantic spirit with more closeness to death than to life.


Légende dramatique en un Prologue et sept Tableux – Dramatic legend in a prologue and seven pictures

Prologue p.1 – La Baptême p.13 – L’Amour p.40 – La Fête p.71 – Vision p.130 –
L’Incendie p.187 – La Mort p.243 – Triomphe p.261

Vincent d’Indy is considered a reactionary and traditionalist, he strictly rejected modernity and acted as spokesman for Debussy’s opponents. And this, although his works themselves were not always unaffected by the early impressionist and later the neo-classical movements. Introduced to music by his uncle Wilfrid d’Indy (1821-1891), an amateur composer, Vincent quickly began to write his own works. Alexandre Jean Albert Lavignac (1846-1916) introduced him to harmony and music theory, and with this knowledge he published his first pieces in 1871 after the Franco-Prussian War. The following year d’Indy met César Franck (1822-1890), who took him on as a student and was to be an influence until the end of his life. Franck also introduces him to the music of Wagner, which became a new guiding star for d’Indy…

Vocal Score is also available > HERE


  • Bull, Edvard Hagerup

    Épilogue : Hommage à la mémoire d’un Monde Perdu : In commemoration to the deed of infamy 13th of August 1961, Berlin (Le mur de Berlin) : Version pour quatuor à cordes, op. 26 B (score and parts / first print)

    No. 4333

First performance: Bergen, April 29th 2012: Ricardo Odriozola, Mara Haugen Smiukse (violins), Sebastian Lowe (viola), Lala Murshudli (cello)

Edvard Hagerup Bull obtained an organist diploma in Oslo in 1947 after studies with Arild Sandvold. He also studied piano with Erling Westher and Reimar Riefling and composition with Bjarne Brustad and Ludvig Irgens Jensen. His father, Sverre Hagerup Bull, was a respected music critic as well as the editor and one of the main authors of the Norwegian music encyclopaedia “Musikkens Verden”. Edvard Hagerup Bull had an impeccable ancestry for a Norwegian composer: his paternal grandfather was a cousin of Edvard Grieg, while Ole Bull was the grandfather’s uncle. The same grandfather was several times finance and justice minister under the Christian Mikkelsen government, the first Norwegian government after Norway became independent from Sweden in 1905. Between 1948 and 1953 Edvard Hagerup Bull studied composition at the Paris Conservatoire with Darius Milhaud and Jean Rivier and musical analysis with Olivier Messiaen. Later on he spent two years in Berlin (1959 – 1961), where he studied composition with Boris Blacher and analysis with Josef Rufer. Back in Norway he was ready to establish himself as a working composer. This was not to be, however. He encountered a great deal of indifference, even downright hostility towards his music in his own country. …