Solo Instrument(e) & Orchester

  • Foulds, John

    Hellas. A Suite of Ancient Greece Op. 45 for double string orchestra & percussion (new print / engraved after the original manuscript by Lucian Beschiu)

    No. 1163a

Engraved by Lucian Beschiu (2020)

I Solemn Temple Dance.
Remoto e senza passione (in the Lydian mode) p. 1
II Processional. Senza deviazione
(in the Ionian mode) p. 10
III Dirge for a Hero
(in the Phrygian mode) p. 33
IV Song of Argive Helen
(in the Æolian mode) p. 46
V Temple Chant
(in the Dorian mode) p. 55
VI Corybantes
(in the Mixolydian mode) p. 64

John Foulds is, to my mind, perhaps the greatest twentieth-century composer of genius to be entirely ignored, not only in England, but altogether. His wholly original music exudes freedom, lightness, immediacy, and a joy of discovery capable of touching and thrilling the listener in a unique way. Foulds was at once a pioneer, a true adventurer, a comprehensive master of form, a vivacious practicing musician as a conductor, cellist, and pianist, an insatiable explorer, a prime example of unlimited stylistic versatility, a tireless innovator, and the possessor of a critical and free-thinking mind. Above all he was a man who always strove for the utmost while remaining ever cognizant of his human inadequacy. This lent him a natural modesty and enabled him to come closer and closer to his actual goal of reaching absolute freedom, of being an “enlightened one.” He found the crucial elements for his quest in Eastern culture, as handed down by the “masters of wisdom” in Central Asia and India, and sought to combine them with constructive elements of Western culture to fashion a higher unity. None of the personal setbacks and the tragic sides of his life are imposed on the listeners of his music, which invariably speaks a warm-hearted, unsentimental, and authentic language. …

I Lento (p. 1) – Allegro (p. 5) – Lento (p. 17)
II Thema & Variationen. Thema. Vivace (p. 19) – Var. 1 (p. 20) – Var. 2. Meno mosso (p. 21) –
Var. 3. Tempo primo (p. 23) – Var. 4. Poco meno (p. 24) – Var. 5. Tempo primo (p. 26) –
Var. 6. Adagio (p. 28) – Var. 7. Tempo primo (p. 29) – Coda (p. 30)

Hans Heinz Stuckenschmidt (1901-88) opened his Boris Blacher monograph (Berlin, 1985) with the words
„A strong intellect in a delicate figure. Mathematically precise thinking, presented in ironic, sometimes self-ironic turns that tend towards paradox. Great creative potency, effortlessly fast-paced, with a frequent predilection for tricky psychological and compositional problems. Avant-gardism, combined with perfect adaptation to the demands of popular music. A bohemian way of life with concentrated diligence and absolute reliability in fulfilling commissions.“

Stuckenschmidt concluded his reflections with the following words: „In German countries, there is a lot of prejudice against cheerful art. The philosophers who have taken our aesthetics into such strict discipline no longer want to grant artists the right to respond to the tragedy of history in a dancing and joking manner. But the world was no more harmless then, when Aristophanes, Shakespeare and Molière held up the laughing stock, than it is today. Blacher knew the tragedies of his time, including the social ones. In a Requiem of extraordinary rhetoric power, as well as in the ‚Jüdische Chronik‘ (Jewish Chronicle, 1961), collectively written by East and West German musicians, he proved that the tragic basic feeling of great art lived in him. But we want to be grateful that his lucid spirit produced some works of the deep serenity that has become so rare today in the realm of higher spirits. Blacher loved such serenity not only in his personal posture, but also in the artistic forms that bear his face. This face will be unforgettable to all who knew it“. …

Klavier & Orchester

I. Langsamer Tango [Slow Tango] II. Shimmy III. Boston IV. Charleston Composed: 1927
Premiered: Amsterdam in 1929 Other names used by this composer: Will Grosz, Hugh Williams, Will Grant, and André Milos Early Works A native son of Vienna, Austria, Wilhelm Grosz studied at the Imperial Academy of Music and the Performing Arts (now mdw) from 1910-16 and 1918-20 with emphasis on piano under Richard Robert (teacher of George Szell and Rudolf Serkin); he won the 1917 Academy’s Zusner-Liederpreis [song composition prize]. His music and life are featured as part of the “I return to Vienna when I compose” exhibit in the exil.arte Center at the mdw on Lothringerstraße 18, Vienna. He was the only child of Bernhard and Mathilde Grosz, who owned a jewelry shop on Vienna’s Graben No. 12 in the First District. Notably gifted in both classical and popular forms, Grosz formed lifelong friendships with several fellow students from the Gymnasium on Wasagasse (including Erich Wolfgang Korngold) and of Franz Schreker, with whom he studied counterpoint and composition. Korngold would later arrange an invitation for him to contribute to Hollywood film scores. …


Jules Massenet – womanizer, plagiarist, darling of the public. As controversial as the composer of the operas Manon (1884), Werther (1892) and Thaïs (1894) was in the eyes of his contemporaries, it was he however, who succeeded Bizet and Gounod in France and achieved great success. Born in the provincial Montaud near Saint-Étienne, he attended the Paris Conservatory at the age of eleven. There he became a student of Gounod and Thomas and finally won the coveted Prix de Rome in 1863, which enabled him to spend three years at the Villa Medice in Rome on a scholarship. As was customary in France at the time, a composer could only make a living writing operas, and Massenet wanted to become one of those celebrated opera composers. In 1867 he published his first stage work, La grand’tante. But he had to wait another 10 years until his opera Le roi de Lahore, which premiered in 1877, was really successful. His international breakthrough came in 1884 with Manon, which has since been in the repertoire of numerous opera houses. By this time Massenet had already followed his teachers and was himself appointed professor at the Paris Conservatory. Among his students were George Enescu and Gustav Charpentier. But in addition to his teaching, Massenet continued to compose for the stage. When the novel Thaïs by the later Nobel Prize winner Anatole France (1844-1924) was published in 1890, Massenet’s librettist Louis Gallet (1835-1898) and his publisher Henri George Heugel (1844-1916) were passionate about the book. Although the plot goes back to the drama Pafnutius by Hrotsvit von Gandersheim from the 10th century, the text with its lascivious and exotic atmosphere is ideal for contemporary theater. In his autobiographical memories, Massenet recalls the genesis: “Louis Gallet and Heugel proposed to me a work on Anatole France’s admirable romance ‚Thais’. I was immediately carried away by the idea. I could see Sanderson in the role of Thais. She belonged to the Opera-Comique so I would do the work for that house.“ …

Piano Reduction is also available HERE

Chor/Gesang & Instrument(e)

Pieter (Pierre) Emmanuel Verheyen is in many ways an interesting composer, even though for a long time he had been forgotten.1 His contribution to music in the Southern Netherlands refutes the view, prevalent until recently, that the late eighteenth and early nineteenth centuries were an absolute creative low point in those regions. Pieter Verheyen’s father was a singing teacher and singer-sacristan in the Cathedral of Ghent. Allegedly, as a boy Pieter received lessons from the cathedral organist Jean Joseph Boutmy, later also from the Brussels conductor and composer Ignaz Vitzthumb and from François Krafft, singing master at the Ghent Cathedral. Yet as a composer he seems to be largely self-taught. He was also a singer (altus/tenor), church chapel master, organist and violinist. In his career we can distinguish three periods. During the first period he alternated between church and opera: he sang in churches; for a few years he was part of Jacob Neyts’s travelling company De Vlaemsche Opera and of a similar ensemble by Ignaz Vitzthumb; he worked as a conductor in Maastricht and from 1784 to 1792 he was singing master at the chapter of Saint Pharaildis (Sint-Veerlekapittel) in Ghent. In the years 1786-1790 he enjoyed the support of the Ghent bishop Ferdinand Maria de Lobkowitz as ‘compositeur ordinaire de son altesse’. In that first period, in addition to liturgical music, he also composed three operas (including one to a libretto in Dutch) and, after the Brabant Revolution of 1789, occasional works for the États Belgiques Unis (the United Belgian States). In the second period, coinciding with the first six years under French occupation (1795-1801), he wrote patriotic songs and cantatas in the spirit of the revolutionary regime. It is not by chance that the third period starts in 1801, the year of the Concordat between Napoleon and the pope, which gives the Church more autonomy again. In this period Verheyen composes a lot of religious music, besides also romances, keyboard music and pieces for wind ensemble. …

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