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Mixed Bag No.11: Nicholas Hare - Music At The Court Of Henry VIII (Score/Parts)

Mixed Bag No.11: Nicholas Hare - Music At The Court Of Henry VIII (Score/Parts)

The highly acclaimed Mixed Bag series provides a great opportunity for woodwind players of mixed ability to play together, and make a perfect recital item for young musicians who are getting used to playing with others. Part 1 is quite demanding but Parts 2, 3 and 4 are easier. These parts can be played by just one or several players - it’s up to you! Optional ‘filler’ parts are also included for beginners. Music at the Court of Henry VIII contains 5 pieces, all expertly arranged by Nicholas Hare, and dedicated to the boys of Cheltenham College Junior School, where he was Director of Music for many years.

DKK 332.00
1

Helen Grime: Luna (Score)

Helen Grime: Luna (Score)

For Flute, Oboe, Clarinet, Horn, Percussion and Piano.Commissioned in 2011 by the Court of the University of Glasgow, under the terms of the McEwan Bequest. First performed on 15th October 2011, Concert Hall, University of Glasgow by the Red Note Ensemble.Scoring:Flute (doubling Piccolo)Oboe (doubling Cor Anglais)Clarinet in Bb (doubling Clarinet in Eb)Horn in FPercussion (1 player):3 Temple Blocks (Small, Medium and Large), Log Drum, 2 Suspended Cymbals (Small and Large), Xylophone, Vibraphone, Traingle, 2 Wood Blocks, Tibetan Chimes (Tingsha) in G

DKK 229.00
1

John Tavener: What God Is, We Do Not Know (SATB/Organ)

John Tavener: What God Is, We Do Not Know (SATB/Organ)

For SATB chorus and Organ from The Veil Of The Temple.The Veil of the Temple was commissioned by the Temple Music Trust. The world premiere took place on 27th June 2003 at the Temple Church, London, performed by the Choir of the Temple Church and the Holst Singers, with Patricia Rozario (soprano), conducted by Stephen Layton, as part of The City of London Festival, 2003.The anthem What God is, we do not know was sponsored by Pump Court Tax Chambers. It was first performed on 1st July 2004, by the Choir of the Temple Church with James Vivian (organ) conducted by Stephen Layton.

DKK 70.00
1

Simon Holt: The Man In The Wind And The West Moon

Simon Holt: The Man In The Wind And The West Moon

Simon Holt 's the man in the wind and the west moon was composed for Solo Harp in 2013, having been commissioned by The Tanza Trust. The piece takes its title from a line in a Dylan Thomas poem named 'And death shall have no dominion'. The four sections of the work see shifting harmonies throughout, with the first section repeating but also changing ever so subtly. The unique thing about the piece is that each section is dynamically different, but is left open to interpretation by the player.  The man in the wind and the west moon  was   first performed on the 2nd of June 2014 at Milton Court Concert Hall in London by Alex Rider. The piece lasts around 7 minutes, and the bottom C and D strings should be tuned to C# and D# respectively.

DKK 158.00
1

Mixed Bag No.3: Henry Purcell - Popular Pieces (Score/Parts)

Mixed Bag No.3: Henry Purcell - Popular Pieces (Score/Parts)

The highly acclaimed Mixed Bag series provides a great opportunity for woodwind players of mixed ability to play together, and make a perfect recital item for young musicians who are getting used to playing with others. Each arrangement will work with just three main parts. Part 1 is quite demanding but Parts 2 and 3 are easier. These parts can be played by just one or several players - it’s up to you! Optional ‘filler’ parts are also included for beginners. Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output. Three of his most popular works have been arranged here by Graham Lyons.

DKK 332.00
1

J.S. Bach Adaptations: Piano Transcriptions By Walter Rummel

J.S. Bach Adaptations: Piano Transcriptions By Walter Rummel

This collection of Rummel's J.S. Bach 'adaptations' for the Piano presents twelve titles from the original twenty-five originally published by J & W Chester between 1922 and 1938, demonstrating a range of styles from the contemplative Liebster Jesu, Wir Sind Hier to the uninhibited Sturze zu Boden. A close friend of Debussy, Rummel belonged to a younger generation of leading composers, leading a trend away from previous Keyboard transcribers, established by Busoni, Liszt, Reger and others who concentrated on adapting Bach's Organ works rather than the Vocal music.This vibrant collection is suitable for intermediate to advanced pianists but will be of interest to all who enjoy Bach's music for Keyboard.Born in Berlin to a diversely creative family, Walter Rummel (1887 - 1953) was surrounded by art and music from an early age. He came from a pedigree of distinguished musicians, his family home a favoured meeting place for musicians and artists alike. His great grandfather, Christian Rummel (1787 - 1849) was director of the court orchestra at Wiesbaden for Duke Wilhelm of Nassau and his maternal grandfather, Samuel Morse (1791 - 1892), the American painter and inventor of the telegraph.

DKK 189.00
1

Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score)

Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score)

The story centres on the English princess Caroline Mathilde (1751-1775), sister of George III, who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King, Christian VII. The ballet portrays her unhappy marriage, the King's growing madness and her fatal love-affair with Struensee, the King's influential physician, which leads to their arrest, his execution and her exile, at the age of 20, separated from her two young children.This suite begins with the act's opening number: a boisterous, stamping dance to which the people rudely mock Queen Caroline Mathilde and her lover Struensee. After this comes a dark Adagio, The Conspiracy, in which the theme passes like persuasion from mouth to mouth, its variations suggesting the different attitudes of the conspirators, firmly controlled by the brass-driven gestures of the Queen Dowager. The conspiracy then works itself out at a court masked ball, from which the suite includes two dances: a gavotte, and a slow, lubricious passacaglia that is a pas de deux for Caroline Mathilde and Struensee. The Arrest comes with a gathering rush of music that envelops the King, the Queen and Struensee, leading to a vociferous climax in which they are held apart. In The Execution, slow white music for wordless female voices, harp and low strings is interrupted by pathetic, alienated outbursts from the King. The suite ends, as does the ballet, with a quiet adagio lament for clarinets and alto flute as the Queen goes into exile.Score. Duration c. 33mins.

DKK 309.00
1

Peter Maxwell Davies: The Lighthouse Study Score

Peter Maxwell Davies: The Lighthouse Study Score

Chamber opera in a prologue and one act. A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again.Study Score. Duration c. 1h 25mins.

DKK 221.00
1

Peter Maxwell Davies: The Lighthouse (Libretto)

Peter Maxwell Davies: The Lighthouse (Libretto)

Chamber opera in a prologue and one act. A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again.Libretto only. Duration c. 1h 25mins.

DKK 158.00
1

Peter Maxwell Davies: The Lighthouse Vocal Score

Peter Maxwell Davies: The Lighthouse Vocal Score

A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again.Vocal score with piano reduction of the instrumental score. Duration c. 1h 25mins.

DKK 293.00
1