Für Sofia Gubaidulina enthält der Begriff FACHWERK, dessen Wortklang sie ungemein fasziniert, zwei Komponenten. Zum einen steckt darin die handwerkliche Arbeit, die notwendig ist, um die Komposition in Struktur, Form, Architektur und zeitlichem Ablauf zu einem aufführbaren musikalischen Werk zu machen. Zum anderen hat der Begriff auch eine ästhetische Komponente. Dient doch die Fachwerkbauweise der Häuser des späten Mittelalters und der frühen Neuzeit nicht nur statischen Gesichtspunkten, sondern verleiht den Gebäuden auch ein besonders reizvolles, malerisches Aussehen. Auch in dem Instrument Bajan manifestiert sich aufgrund seiner Bauweise und seiner spezifischen Klangmöglichkeiten in den Augen der Komponistin das ‚Fachwerk‘-Prinzip in vollendeter Weise. So verbinden sich in Sofia Gubaidulinas neuestem Instrumentalkonzert – wie auch in ihren bisherigen Werken – Schönheit und Konstruktion zu einem künstlerischen Ganzen. – – – – – – – – – – – – – – – – – – – – – – – – – – – – – For Sofia Gubaidulina, the term FACHWERK, the sound of which fascinates her no end, contains two components. On the one hand, there is the craftsmanship necessary to make the composition into a performable musical work in its structure, form and architecture. On the other hand, the term also has aesthetic components. The ‚fachwerk‘ method of construction serves the buildings of the late Middle Ages and Early Modern Age not only from the point of view of statics, but also lends the buildings an especially charming, picturesque appearance. In the instrument bayan, too, the ‚fachwerk‘ principle is perfectly manifest, in the composer’s view, due to its method of construction and specific sound possibilities. Thus, beauty and construction are combined to form an artistic whole in Sofia Gubaidulina’s latest instrument concerto, as in her previous works.

Akkordeon, Schlagzeug und Streichorchester Partitur
Sofia Gubaidulina Streichorchester für Bajan, Schlagzeug und Streichorchester
Verlag: Sikorski Musikverlag SI8691

Noten → Fachwerk

On Pevensey Levels

On Pevensey LevelsOn Pevensey Levels
Orchestration: Solo Harmonica or Violin or Flute (doubling Piccolo), Violin 1, Violin 2, Viola, Cello, Bass
Whilst walking ‚twixt castle and coast on Pevensey Levels one sunny winter’s day a melody played incessantly in my head, leaving me no option on my return home but to write it down and compose this piece.
In all seasons and all weathers the Levels are an area of great beauty and abundant wildlife and are haunted by the ghosts of history. They were once under water and it was at Pevensey that the Romans built their great fortress of Anderitum and here that William the Conqueror landed some 800 years later. In Tudor times Pevensey was a bustling seaport and the castle was re-armed in anticipation of the Spanish Armada, but by the 18th century the sea had receded and the area had become the natural home of smugglers. The coastline today is dominated by the Martello Towers that once guarded against the threatened Napoleonic invasion, and the castle was refortified with military pill boxes and occupied by Allied Forces during World War II. The Levels are now a place of peace and solitude, shared by walkers with all manner of birdlife including swans and herons, and the inevitable rabbits, foxes and grazing livestock, not to mention other walkers and their dogs. Paul Lewis
The solo part may be played either by harmonica or violin or flute (doubling piccolo).
Duration 4 1/2 minutes
A PACK includes a full score, string parts 4/4/3/4/2 and one of each solo part.
A solo and piano reduction of this piece is also available – Goodmusic GM164.

Mundharmonika und Streichorchester Partitur und Stimmen
Paul Lewis Streichorchester for solo and string orchestra
Verlag: Goodmusic Publishing GMCO124


Orchestration: Solo Harmonica or Violin or Flute or Clarinet or Alto Sax, Violin 1, Violin 2, Viola, Cello, Bass

A memorable piece in slow swing style. 4, 7, 11 – Counting the number of bars in the introduction, the main theme and the episodes reminded the composer of Germany’s best-known house number, 4711 in Glockengasse, Cologne, home of the world-famous perfumery; hence the title. The piece was written for the distinguished British harmonica player, Chris Shrimpton. Apart from the harmonica, the solo part is suitable to be played by violin, flute, clarinet or alto sax. Alternative solo parts are included for clarinet and sax.
Duration 5 minutes
A PACK comprises one full score and string parts 4/4/3/4/2 plus all solo parts.
A solo and piano reduction is also available – GM170.
The audio sample below is with harmonica. The sax version can be heard on the piano edition

Mundharmonika und Streichorchester Partitur und Stimmen
Clive Jenkins Streichorchester for solo instrument and string orchestra
Verlag: Goodmusic Publishing GMCO128

Noten → Cologne