{"title":"SOLOISTS, CHOIR AND ORCHESTRA","description":"\u003cp\u003eOn this page, you'll find lists of oratorios Dr. Swerts composed:\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ePassio Domini Nostri Jesu Christi Secundum Marcum\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e(1988)\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e (80'). for mezzo, tenor, bass solo, choir and orchestra: (full recording)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/7gSYU3rKIQ8?si=6SihqUazT_V4GOev\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eSymphony N°2 Morgenrot,\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e for soprano solo, choir, and symphony orchestra (2000) (75'): excerpts\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/GZfNG_66QOI?si=2hlUmt0YCmEHkUqW\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI. Introitus — first movement\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/qTzuxTbNjpc?si=GP1OfWbZlDWz0dk1\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIV. An die Musik —  for 16-part choir a capella\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/9XdL6yiC4Xs?si=TEueTustl1T46YDD\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eVII. Finale: Morgenrot\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeilige Seelenlust\u003c\/strong\u003e \u003cstrong\u003e(2008)(The Song of Songs)\u003c\/strong\u003e for soprano and tenor solo, children's choir, female choir, male choir, string orchestra, wind ensemble, two pianos 80': excerpts\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/0h9ZqY_N4us?si=-GHEACGQoQmq2Yul\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI. Opening: Jesu, meine Freund und Lust\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KklB_1Jm7iU?si=cte0A-o7jeqkr2rt\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e9. O Quam Suavis\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/uWa-XZEZfYk?si=LuPigu0GcxFZsFtp\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e19. Finale: Lege Mich\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eThe Sack of Louvain (2014) \u003c\/strong\u003efor 4 soloists, choir and orchestra (60')\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eNo recording available\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eA Symphony of Trees (2017) \u003c\/strong\u003e(90') Commemoration of the Third Battle of Passchendaele WWI (1917) for soprano and tenor solo, choir, children's choir, orchestra, organ\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/FbpFvsK62A0?si=nymseEJrhCF-gk2o\" height=\"315\" width=\"560\" style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI. Ypres - opening\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/AoLgbhdEH_4?si=47b-qsj32qiRiPLz\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFinale - Day is done\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","products":[{"product_id":"zesor07-passions-full-set","title":"ZESOR07 PASSIONS (full set)","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/online.anyflip.com\/jtizk\/ibkq\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" frameborder=\"0\" scrolling=\"no\" seamless=\"seamless\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003efl\/ob\/B flat cl\/bsn\/hrn\/trp\/glcksp\/timp(one player)\/hrp\/2 pno\/str\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/yPczQCQuXOE\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComposer's note: \"The story how a new composition starts is always different. I was very excited and thrilled by the fact that the young dynamic Dutch piano duo Stefan and Martijn \u003ca href=\"http:\/\/www.pianoduoblaak.nl\/\"\u003eBlaak\u003c\/a\u003e commissioned a new double concerto for two pianos. They already had successfully recorded my Vesalius Suite for piano four hands and of course I had already completed six solo piano concertos, so this felt almost like the right moment to undertake this project.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDreaming about a new project is always very seducing and almost addictive but in the end, it must lead to concrete steps, taking more and more musical decisions how you shape, built new work, what your idea is about the concept, in this case of a double concerto.\u003c\/p\u003e\n\u003cp\u003eIn commissions duration and orchestration are very often discussed and the length of min. 25’ seemed a minimum. The orchestra should be a chamber orchestra, also here the exactly choice became more pronounced during the writing process.\u003c\/p\u003e\n\u003cp\u003eOne starts doing some research, looking for examples of existing double piano concertos and certainly there are always more works in the genre than one might presume. Of course, the obvious ones are in the end not just the most famous or most played ones because it’s \u003cem\u003eMozart\u003c\/em\u003e or \u003cem\u003ePoulenc\u003c\/em\u003e or \u003cem\u003eMendelssohn,\u003c\/em\u003e that’s an understatement, it is because they are just better than the other existing pieces. I was particularly not impressed by the double concerto of Philip Glass f.i. nor the older concerto of \u003cem\u003eBruch\u003c\/em\u003e or the much too thick written work of Martinu.\u003c\/p\u003e\n\u003cp\u003eI remember an interview in Paris I did as a student in the eighties with the famous Polish composer \u003cem\u003eWitold Lutoslawsk\u003c\/em\u003ei, who already completed then his pianoconcerto for Zimmerman, and he was then thinking too of a two-piano concerto which was in his point of view much more interesting because you have two independent sets of pedals.\u003c\/p\u003e\n\u003cp\u003eI adore \u003cem\u003ePoulenc\u003c\/em\u003e as a composer, also his concerto is very successful, full of colors, rhythm and interesting treatment of the given of two pianos, but in my view, much too short as a concerto and rather, not chaotic, but more rhapsodic in his general all-over-form.\u003c\/p\u003e\n\u003cp\u003eSo, deciding how my work would be it very often becomes ‘not that but’.\u003c\/p\u003e\n\u003cp\u003eIt always starts with ideas about something: the last years the large overall form interests me more and more, in fact how to create a way of manipulating musical events in such a way that the listener get an experience as a piece of one whole with a very considerable length. Of course, in this case not a concerto of two hours but at least a piece where all movements must be related to each other. Further on, you fantasize about titles and characters of movements, like a playful Toccata or Jeu, the consideration of prolonging the three-movement-pattern and so one.\u003c\/p\u003e\n\u003cp\u003eAll depends of the material you finally opt for: in this case, the whole creation process felt like exceptional, if everything processed itself and the swift pace it was performed seemed almost out of my own control. In the end, this concerto has a duration of almost 32’ minutes and all movements were sketched inner half of four weeks,\u003cem\u003e February 2017.\u003c\/em\u003e It happened during a very common traffic jam when I heard the main theme of Aubade very clearly in my head: I was heading towards my work and once arrived I noted down those first four bars in a roughly drawn piano staff on a course sheet. This musical line expressed exactly in my mind what I wanted to strive for: music that sounded positive and stimulating your energy.\u003c\/p\u003e\n\u003cp\u003eThe title \u003cem\u003eAubade\u003c\/em\u003e came later into my mind because its music seemed to be the embodiment of my experience I previously had in the month December when I visited my brother in \u003cem\u003eMexico\u003c\/em\u003e: I stayed in a marvelous hotel\u003ca href=\"http:\/\/kinsolsoleil.com\/\"\u003e\u003cem\u003e Kyn Sol Soleil\u003c\/em\u003e\u003c\/a\u003e at a fantastic beautiful coast there, in \u003cem\u003eMaroma\u003c\/em\u003e, and it was this feeling of the continuous sound of the waves pounding into the ocean, getting awake, and then seeing the sky and the ocean early in the morning, combined with this warmth, the wind and the energy and continuous force of those waves which sounds into this Aubade.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/IMG_2776_480x480.jpg?v=1602743065\" width=\"292\" height=\"389\"\u003e\u003c\/p\u003e\n\u003cp\u003eThis energetic motive with its ascending fifth became the building stone of the whole architecture, even when in \u003cem\u003eBadinerie\u003c\/em\u003e and\u003cem\u003e Soupirs\u003c\/em\u003e both movements seem to have of their themes and motives, always at a certain moment this Maroma-motive returns of involves or takes over or transforms the movement in something deeper. Endings of movements were designed as such that transitions could be realized without interruption. Aubade incites to \u003cem\u003eBadenerie\u003c\/em\u003e as \u003cem\u003eSoupirs\u003c\/em\u003e does to \u003cem\u003eFeu\u003c\/em\u003e, even if you would leave out the \u003cem\u003eCadence\u003c\/em\u003e in consideration. The \u003cem\u003eCadence\u003c\/em\u003e is composed as last movement, begins and ends in the same key as 3. Ends and 5 begins and thus becomes a major part of 3 to 5 as one big movement towards the end, that and this felt like coincidence, ends in the same key as the concerto starts. It utilizes the \u003cem\u003eMaroma\u003c\/em\u003e-theme and in its middle section improvises material from the \u003cem\u003eBadinerie.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe concerto has five movements: \u003cem\u003eAubade-Badinerie-Soupirs-Cadence-Feu\u003c\/em\u003e. In each movement, the main \u003cem\u003eMaroma\u003c\/em\u003e-theme is present. With exception of a short caesura after n.2 everything should be played without interruption. If the conductor of piano duo prefers, they can even omit the very last measure of \u003cem\u003eBadinerie\u003c\/em\u003e, it will sound then like an open ending, a short fermate to make the transition to the 3. As you like.\u003c\/p\u003e\n\u003cp\u003eIn the same option, one also can opt to omit the \u003cem\u003eCadence\u003c\/em\u003e: the ending and the beginning of the 3\u003csup\u003erd\u003c\/sup\u003e\u003c\/p\u003e\n\u003cp\u003eand 5\u003csup\u003eth\u003c\/sup\u003e movement are designed as such that they can be played without interruption and even without \u003cem\u003eCadence\u003c\/em\u003e: the concerto has a duration of 28’ without \u003cem\u003eCadence\u003c\/em\u003e and almost 33’ with \u003cem\u003eCadence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe main title \u003cem\u003ePassions\u003c\/em\u003e is derived from \u003cem\u003eLes passions de l’âme\u003c\/em\u003e, written by \u003cem\u003eDescartes\u003c\/em\u003e in 1649. It was dedicated to \u003cem\u003eQueen Christina of Sweden\u003c\/em\u003e; the author contributes to a long tradition of theorizing \"\u003cem\u003ethe passions\".\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe passions were experiences now commonly called emotions in the modern period, and had been a subject of debate among natural philosophers since the time of Plato.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDescartes\u003c\/em\u003e represented the problem of the passions of the soul in terms of its simplest integral components. He distinguishes between six different fundamentally distinct passions:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBut there aren’t many simple and basic passions... you’ll easily see that there are only six: wonder, love, hatred, desire, joy, sadness. All the others are either composed from some of these six or they are species of them. So I’ll help you to find your way through the great multitude of passions by treating the six basic ones separately, and then showing how all the others stem from them.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e —Descartes, Passions of the Soul, article 69.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e In my concerto, at least five of the basic passions are represented. I had many thoughts about an exact title for the third movement, first thinking of an Intermezzo, Romance and so one. Finally, the word Soupir(s) suggests the closest the very simple musical idea of this melancholic movement, I found the word in a verse of the Bible:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePs.84:2 Mon âme soupire et languit après les parvis de l'Eternel,  Mon coeur et ma chair poussent des cris vers le Dieu vivant.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIt is my strong wish that this passionate music also reaches the passion of the music listener.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFull set, score and parts, included solo parts for piano, 654pp\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNo addition nor calculation of shipping costs.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/IMG_2751_480x480.jpg?v=1602743110\" width=\"319\" height=\"239\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":52799784681821,"sku":null,"price":424.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/products\/00-ZESOR07-Passions_cover_jpeg_d40ff837-84f5-4e25-a8f8-8138570ba880.jpg?v=1606376869"},{"product_id":"the-sack-of-louvain-piano-reduction","title":"ZE Digital — The Sack of Louvain  — PIANO REDUCTION","description":"\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/jtizk\/bmdk\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e\u003cp\u003ePiano Reduction. 145 pp. This oratorio was commissioned to be performed exactly 100 years after 24-25th of August 1914 to commemorate what happened during the Germain invasion in Louvain. For 4 soloists, choir and orchestra. 53'\u003c\/p\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":53532838592861,"sku":null,"price":42.4,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2024-09-14om12.34.16.png?v=1726310071"},{"product_id":"ze-digital-morgenrot-symphony-n-2-study-score-205-pp","title":"ZE Digital MORGENROT — Symphony N°2 — STUDY SCORE — 205 pp","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/GZfNG_66QOI?si=MBdDh8graZxgn_0F\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"width: 550px; height: 350px;\" src=\"https:\/\/online.anyflip.com\/jtizk\/cspk\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003eThis second symphony was commissioned by the Flemish Government at the occasion of the celebration of the year 2000. It is a large symphony for soprano, choir and orchestra and \u003ca href=\"https:\/\/music.youtube.com\/playlist?list=OLAK5uy_l7QU9AtCdLYtqNsl-_Qmr_IAysITWvKNE\"\u003eappeared on CD from the label PHAEDRA.\u003c\/a\u003e  \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis link enables you to listen to the whole symphony.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNO SHIPPING COSTS.\u003c\/strong\u003e\u003c\/p\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":53533035692381,"sku":"","price":95.4,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2024-09-14om12.54.08.png?v=1726311266"},{"product_id":"ze-digital-a-symphony-of-trees-study-score","title":"ZE DIGITAL — A SYMPHONY OF TREES — STUDY SCORE (244pp)","description":"\u003cp\u003e\u003cem\u003eOpening of A Symphony of Trees:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/FbpFvsK62A0?si=IghBtLO6Xh7TZfS_\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCentral Tenor Aria \"The Silent One\":\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/a9J4xq8jnuA?si=u-NIqFw0Q3VcjzP4\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e Finale of A Symphony of Trees:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/AoLgbhdEH_4?si=ohIonI-a4ioNF4m-\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eIn the Spring of 2015, 138 memorial trees were planted in Ypres. Each tree was planted where roads leading out of the city crossed the curved frontline forming the infamous Ypres Salient of the First World War. This salient stood as a semi-circle around the medieval city from October 1914 to October 1918. During those four years the line moved back and forth several times, but the salient never broke. The trees were planted on the 100th anniversary of the line formation that was the closest to the city centre, and stayed there for the longest period – some 27 months. This so called “small salient” is now recognisable in the landscape through elm trees, trees that were very common before the First World War in the Ypres area. In fact, the word “iep” (for elm) and “Ieper” (the Flemish name of Ypres) are etymologically the same in Flemish. After the war a lot of elms were planted back, but in the 1980s and 1990s most of them died as a result of elm disease. In 2015 a new resistant breed of elms were chosen to become the memorial tree, thus symbolising a double process of loss and resurrection. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen British soldier, poet and composer Ivor Gurney came to the Ypres salient in August 1917, a lot of trees had vanished already. As the British offensive was creeping slowly towards Passchendaele, in an attempt to break the salient, more and more trees got smashed up, as happened to the rest of the countryside. Gurney, who in peace time was an avid walker and lover of the countryside, was shocked by the sight of such utter destruction of life and nature. As a Private with a Machine Gun Company attached to the 2\u003c\/span\u003e\u003cspan\u003end\u003c\/span\u003e\u003cspan\u003e\/5\u003c\/span\u003e\u003cspan\u003eth \u003c\/span\u003e\u003cspan\u003eGloucestershire Regiment, he spent weeks watching out over the barren battlefields east of Ypres. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGurney’s poetry is always about his experience and that of his fellow soldiers. In some poems he also explicitly describes the “dreadfulness” of the destroyed landscape. As a composer in those days he was stirred by A.E.Housman’s poem, \u003c\/span\u003e\u003cspan\u003eOn Wenlock Edge\u003c\/span\u003e\u003cspan\u003e. This poem, from Housman’s immensely popular cycle \u003c\/span\u003e\u003cspan\u003eA Shropshire Lad \u003c\/span\u003e\u003cspan\u003e(1896), also uses the image of distressed woods as a symbol for men’s suffering. In Ivor Gurney’s mind, who considered himself a composer first and a poet second, nature and music mingle in a true sense. And in nature trees are a formidable, direct inspiration for his music. In an essay on music he wrote: \u003c\/span\u003e\u003cspan\u003e“From poplars has come much: the larch has given grace to thought in many of the smaller forms. The oak has strengthened many, and in the shady chambers of the elm many have found peace. Trees are the friendliness of things: the beech with its smooth A major trunk, its laughing E major foliage; the Scotch fir which, passionate or still, is always F sharp minor!’” (\u003c\/span\u003e\u003cspan\u003eIvor Gurney, \u003c\/span\u003e\u003cspan\u003eThe Spring of Music\u003c\/span\u003e\u003cspan\u003e, in: Music Quarterly 8, July 1922) \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 13\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eSuch imagery is at the core of this new work by Piet Swerts, dedicated to the memory of Ivor Gurney and to the destroyed and resurrected City of Ypres. Using Gurney’s descriptions of broken trees in the destroyed Flemish countryside to express the destruction of man and nature alike is certainly fitting, especially as a homage to Gurney - the man, the poet, the composer. When also looking for a female counterpart and perspective on the war, the imagery of broken trees returns in poems by Margaret Postgate Cole and Charlotte Mew. In the epilogue, which pays tribute to the resurrection of the once destroyed city, reference is made to Jean Giono’s \u003c\/span\u003e\u003cspan\u003eThe Man Who Planted Trees \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eL’Homme qui plantait des arbres\u003c\/span\u003e\u003cspan\u003e, 1954). It is yet another work about trees, symbolising life and leading the way to resurrection. This magnificent short-story was also written by a veteran of the First World War and of the battlefields of Flanders. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs such, \u003c\/span\u003e\u003cspan\u003eA Symphony of Trees \u003c\/span\u003e\u003cspan\u003ehas become a true homage to Ivor Gurney and to Ypres. The city was the centre of terrible fighting in Flanders during the First World War, and was entirely destroyed. In the 1920s it was resurrected and ever since bears witness to the world of the utter destruction of war. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUpon arrival in Ypres, Gurney described the ruins of the city at dawn. When out in the line, he saw the destruction of the entire landscape. It made such an impact that after the war, he would often think back on the horrid scene. Although he’d wished he could only have had sweet memories of Ypres...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca title=\"A SYMPHONY OF TREES\" href=\"https:\/\/www.bol.com\/be\/nl\/p\/piet-swerts-in-flanders-fields-vol-98-a-symphony-of-trees\/9200000087308012\/\"\u003e\u003cstrong\u003ePUBLISHED BY THE LABEL 'PHAEDRA vol.98'\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":53799146062173,"sku":"","price":86.92,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2024-09-27om13.52.59.png?v=1727437993"},{"product_id":"a-symphony-of-trees-study-score-244pp","title":"A SYMPHONY OF TREES — STUDY SCORE (244pp)","description":"\u003cp\u003e\u003cem\u003eOpening of A Symphony of Trees:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/FbpFvsK62A0?si=IghBtLO6Xh7TZfS_\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCentral Tenor Aria \"The Silent One\":\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/a9J4xq8jnuA?si=u-NIqFw0Q3VcjzP4\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e Finale of A Symphony of Trees:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/AoLgbhdEH_4?si=ohIonI-a4ioNF4m-\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eIn the Spring of 2015, 138 memorial trees were planted in Ypres. Each tree was planted where roads leading out of the city crossed the curved frontline forming the infamous Ypres Salient of the First World War. This salient stood as a semi-circle around the medieval city from October 1914 to October 1918. During those four years the line moved back and forth several times, but the salient never broke. The trees were planted on the 100th anniversary of the line formation that was the closest to the city centre, and stayed there for the longest period – some 27 months. This so called “small salient” is now recognisable in the landscape through elm trees, trees that were very common before the First World War in the Ypres area. In fact, the word “iep” (for elm) and “Ieper” (the Flemish name of Ypres) are etymologically the same in Flemish. After the war a lot of elms were planted back, but in the 1980s and 1990s most of them died as a result of elm disease. In 2015 a new resistant breed of elms were chosen to become the memorial tree, thus symbolising a double process of loss and resurrection. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen British soldier, poet and composer Ivor Gurney came to the Ypres salient in August 1917, a lot of trees had vanished already. As the British offensive was creeping slowly towards Passchendaele, in an attempt to break the salient, more and more trees got smashed up, as happened to the rest of the countryside. Gurney, who in peace time was an avid walker and lover of the countryside, was shocked by the sight of such utter destruction of life and nature. As a Private with a Machine Gun Company attached to the 2\u003c\/span\u003e\u003cspan\u003end\u003c\/span\u003e\u003cspan\u003e\/5\u003c\/span\u003e\u003cspan\u003eth \u003c\/span\u003e\u003cspan\u003eGloucestershire Regiment, he spent weeks watching out over the barren battlefields east of Ypres. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGurney’s poetry is always about his experience and that of his fellow soldiers. In some poems he also explicitly describes the “dreadfulness” of the destroyed landscape. As a composer in those days he was stirred by A.E.Housman’s poem, \u003c\/span\u003e\u003cspan\u003eOn Wenlock Edge\u003c\/span\u003e\u003cspan\u003e. This poem, from Housman’s immensely popular cycle \u003c\/span\u003e\u003cspan\u003eA Shropshire Lad \u003c\/span\u003e\u003cspan\u003e(1896), also uses the image of distressed woods as a symbol for men’s suffering. In Ivor Gurney’s mind, who considered himself a composer first and a poet second, nature and music mingle in a true sense. And in nature trees are a formidable, direct inspiration for his music. In an essay on music he wrote: \u003c\/span\u003e\u003cspan\u003e“From poplars has come much: the larch has given grace to thought in many of the smaller forms. The oak has strengthened many, and in the shady chambers of the elm many have found peace. Trees are the friendliness of things: the beech with its smooth A major trunk, its laughing E major foliage; the Scotch fir which, passionate or still, is always F sharp minor!’” (\u003c\/span\u003e\u003cspan\u003eIvor Gurney, \u003c\/span\u003e\u003cspan\u003eThe Spring of Music\u003c\/span\u003e\u003cspan\u003e, in: Music Quarterly 8, July 1922) \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv title=\"Page 13\" class=\"page\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eSuch imagery is at the core of this new work by Piet Swerts, dedicated to the memory of Ivor Gurney and to the destroyed and resurrected City of Ypres. Using Gurney’s descriptions of broken trees in the destroyed Flemish countryside to express the destruction of man and nature alike is certainly fitting, especially as a homage to Gurney - the man, the poet, the composer. When also looking for a female counterpart and perspective on the war, the imagery of broken trees returns in poems by Margaret Postgate Cole and Charlotte Mew. In the epilogue, which pays tribute to the resurrection of the once destroyed city, reference is made to Jean Giono’s \u003c\/span\u003e\u003cspan\u003eThe Man Who Planted Trees \u003c\/span\u003e\u003cspan\u003e(\u003c\/span\u003e\u003cspan\u003eL’Homme qui plantait des arbres\u003c\/span\u003e\u003cspan\u003e, 1954). It is yet another work about trees, symbolising life and leading the way to resurrection. This magnificent short-story was also written by a veteran of the First World War and of the battlefields of Flanders. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs such, \u003c\/span\u003e\u003cspan\u003eA Symphony of Trees \u003c\/span\u003e\u003cspan\u003ehas become a true homage to Ivor Gurney and to Ypres. The city was the centre of terrible fighting in Flanders during the First World War, and was entirely destroyed. In the 1920s it was resurrected and ever since bears witness to the world of the utter destruction of war. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUpon arrival in Ypres, Gurney described the ruins of the city at dawn. When out in the line, he saw the destruction of the entire landscape. It made such an impact that after the war, he would often think back on the horrid scene. Although he’d wished he could only have had sweet memories of Ypres...\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eAlso digital available.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.bol.com\/be\/nl\/p\/piet-swerts-in-flanders-fields-vol-98-a-symphony-of-trees\/9200000087308012\/\" title=\"A SYMPHONY OF TREES\"\u003e\u003cstrong\u003ePUBLISHED BY THE LABEL 'PHAEDRA vol.98'\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":53799388053853,"sku":null,"price":100.7,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2024-09-27om13.52.59.png?v=1727437993"},{"product_id":"les-liaisons-dangereuses-opera-en-quatre-actes-study-score","title":"Les Liaisons Dangereuses — Opéra en quatre actes — STUDY SCORE","description":"\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/jtizk\/qbgr\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e\u003cp\u003eOpéra en quatre actes sur un livret de Dirk van der Cruysse d'après le roman épistolaire du même nom de Pierre Choderlos de Laclos\u003c\/p\u003e\n\u003cp\u003eOpera in four actes on a libretto by Dirk van der Crusse to the epistolary novel of the same name by Pierre Choderlos de Laclos.\u003c\/p\u003e\n\u003cp\u003eCommissioned by the Flemish Opera of Antwerp 1996.\u003c\/p\u003e\n\u003cp\u003eOrchestral Score.\u003c\/p\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":57488352411997,"sku":"","price":80.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2025-04-27om10.54.02.png?v=1745744287"},{"product_id":"johannespassie","title":"JOHANNESPASSIE — KLAVIERREDUCTIE — NIEUW!","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/online.anyflip.com\/jtizk\/ehci\/index.html\" style=\"width: 550px; height: 350px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDeze uitgave bevat de \u003cstrong\u003eklavierreductie\u003c\/strong\u003e van de \u003cstrong\u003eJohannespassie\u003c\/strong\u003e van \u003cstrong\u003ePiet Jozef Swerts,\u003c\/strong\u003e 165 pp. Het werk heeft een totale duur van \u003cstrong\u003e125'\u003c\/strong\u003e en is opgezet in drie delen. \u003cstrong\u003eBezetting:\u003c\/strong\u003e drie solisten, gemengd koor, houtblazerskwintet, continuo en strijkers.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003eVoor gereduceerde prijzen voor grotere aantallen van de klavierreductie:\u003c\/span\u003e gelieve  zodiaceditions@gmail.com te contacteren.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDe volledige speelset is fysiek of digitaal beschikbaar.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDe compositie telt \u003cstrong\u003e42\u003c\/strong\u003e afzonderlijke nummers, waaronder \u003cstrong\u003erecitatieven, turbakoren, koralen, aria's, openings- en slotkoor.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDe evangelieteksten worden daarin afgewisseld met bezinningsteksten die geïnspireerd zijn op Bijbelteksten en psalmen, waardoor het passieverhaal zowel narratief als meditatief wordt belicht.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDe orkestpartituur is apart beschikbaar in \u003cspan style=\"text-decoration: underline;\"\u003ehardcover\u003c\/span\u003e als studiepartituur, evenals in A3-formaat als \u003cspan style=\"text-decoration: underline;\"\u003edirectiepartituur.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cmeta charset=\"utf-8\"\u003eOp aanvraag is een gesamplede opname gratis verkrijgbaar.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn \u003cspan style=\"text-decoration: underline;\"\u003eEnglish version\u003c\/span\u003e is also available as well, full set, also digital, hardcover version of the orchestral score as study score, the vocal score in paperback and the orchestral score in large size as conductor score.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ZodiacEditions","offers":[{"title":"Default Title","offer_id":62719614058845,"sku":null,"price":24.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0276\/3531\/8853\/files\/Scherm_afbeelding2026-05-02om18.20.13.png?v=1777738886"},{"product_id":"johannespassie-klavierreductie-nieuw-kopie","title":"JOHANNESPASSIE — ORKESTPARTITUUR — HARDCOVER EDITIE — NIEUW!","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/online.anyflip.com\/jtizk\/dkjd\/index.html\" style=\"width: 550px; 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height: 350px;\" src=\"https:\/\/online.anyflip.com\/jtizk\/dkjd\/index.html\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDeze uitgave bevat de \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003edirectiepartituur\u003c\/strong\u003e in \u003cstrong\u003eA3-formaat\u003c\/strong\u003e \u003c\/span\u003evan de Johannespassie van Piet Jozef Swerts, \u003cstrong\u003e240 pp\u003c\/strong\u003e. 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