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Triple Quartet : Hawkes Pocket Scores HPS 1401-Score Only

Composed for string quartet plus two pre-recorded quartets, “Triple Quartet” can also be played live by three string quartets with no pre-recording.

Sing Sing: J. Edgar Hoover : for String Quartet and Pre-recorded Sound

Sing Sing: J. Edgar Hoover : for String Quartet and Pre-recorded Sound

Chosen

James MacMillan is the pre-eminent Scottish composer of his generation. This attractive five-minute Advent/Christmas carol for choir and organ sets a poem by Michael Symmons Roberts, a frequent collaborator with the composer. Mainly in four parts, there are a couple of chords with further divisions.

Crowd

This piece is an exploration of resonance, and in the essential nature of the earliest harps. Crowd (etymologically related to the Celtic words crwth, cruit or crot) was the English term used for instruments of the lyre class, and ultimately for a frame harp from pre-Christian to medieval times.

Triple Quartet

Note by the composer:Triple Quartet is for string quartet and two pre-recorded quartets, or three live string quartets with no pre-recording. The piece is in three movements, fast-slow-fast, and is organized harmonically on four dominant chords in minor keys a minor third apart: E minor, G minor, Bb minor, C# minor and then returning to E minor to form a cycle. The first movement goes through this harmonic cycle twice with a section about one minute long on each of the four dominat chords. The result is a kind of variation form. Rhythmically the first movement has the second and third quartet playing interlocking chords while the first quartet plays longer melodies in canonbetween the first violin and viola against the second violin and cello. The slow movement is more completely contrapuntal with a long slow melody in canon eventually in all 12 voices. It stays in E minor throughout. The third movement resumes the original fast tempo, maintains the harmonic chord cycle but modulates back and forth between keys more rapidly. The final section of the movement is in the initial key of E minor and there the piece finally cadences.” Steve Reich, 1999

Excerpts From Appalachian Spring

Written in 1943-44 as a ballet for Martha Graham, Appalachian Spring is one of Aaron Copland's most celebrated compositions and winner of the Pulitzer Prize in 1945. In this edition for concert band,Robert Longfield has skillfully adapted the most striking and beautiful sections from the orchestral suite. The work ranges in scope from delicate and soloistic to the overpowering force of the full ensemble, culminatingwith Copland's signature setting of “Simple Gifts”.A wonderful opportunity for band members and their audiences to enjoy this beloved music from one of America's pre-eminentcomposers.Instrumentation:Piccolo, 4 x Flute I, 4 x Flute II, 2 x Oboe, 2 x Bassoon, 4 x Clarinet I, 4 x Clarinet II, 4 x Clarinet III, 2 x Bass Clarinet, 2 x Alto Saxophone I, 2 x Alto Saxophone II, 2 x Tenor Saxophone,Baritone Saxophone, 3 x Trumpet I, 3 x Trumpet II, 3 x Trumpet III, Horn I, Horn II, Trombone, Trombone II, Baritone.

Cello Counterpoint : Version For Solo Cello and Tape

Cello Counterpoint is scored for eight Cellos and can be played by a soloist with the other parts pre-recorded (This tape is available from the Boosey & Hawkes rental library.) Alternatively,the piece can be played by a Cello Octet. (There are differences in the distribution of parts between the two versions.) The piece is in three movements: fast, slow, fast. The first and last movements are both based on a similarfour-chord cycle that moves ambiguously back and forth between C minor and E-flat major. This harmonic cycle is treated extremely freely, particularly in the third movement. The second, slow movement, is a canon in E-flatminorinvolving, near the end of the movement, seven separate voices. The piece is a little more than 11 minutes in duration and was co-commissioned by the Koussevitzky Foundation in the Library of Congress, the RoyalConservatory in The Hague and Leiden University, for Cellist Maya Beiser.

Excerpts From Appalachian Spring

Written in 1943-44 as a ballet for Martha Graham, Appalachian Spring is one of Aaron Copland's most celebrated compositions and winner of the Pulitzer Prize in 1945. In this edition for concert band,Robert Longfield has skillfully adapted the most striking and beautiful sections from the orchestral suite. The work ranges in scope from delicate and soloistic to the overpowering force of the full ensemble, culminatingwith Copland's signature setting of “Simple Gifts”.A wonderful opportunity for band members and their audiences to enjoy this beloved music from one of America's pre-eminentcomposers.Instrumentation:Piccolo, 4 x Flute I, 4 x Flute II, 2 x Oboe, 2 x Bassoon, 4 x Clarinet I, 4 x Clarinet II, 4 x Clarinet III, 2 x Bass Clarinet, 2 x Alto Saxophone I, 2 x Alto Saxophone II, 2 x Tenor Saxophone,Baritone Saxophone, 3 x Trumpet I, 3 x Trumpet II, 3 x Trumpet III, Horn I, Horn II, Trombone, Trombone II, Baritone.

Four Hymns : Orchestral version

The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content. The first of the hymns, ‘Lord! come away!’, employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor’s Golden Grove (17th century). ‘Who is this fair one?’ (Isaac Watts, 1674–1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, ‘Come Love, come Lord’ (Richard Crashaw, c1613–49) “breathes that spirit of mystical remoteness later to informA Pastoral Symphony”. The final ‘Evening Hymn’ is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato. Four Hymns is also available in the version for tenor, viola & piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers.

Four Hymns : Orchestral version

The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content. The first of the hymns, ‘Lord! come away!’, employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor’s Golden Grove (17th century). ‘Who is this fair one?’ (Isaac Watts, 1674–1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, ‘Come Love, come Lord’ (Richard Crashaw, c1613–49) “breathes that spirit of mystical remoteness later to informA Pastoral Symphony”. The final ‘Evening Hymn’ is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato. Four Hymns is also available in the version for tenor, viola & piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers.