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Helen Grime: Five North-Eastern Scenes

Helen Grime: Five North-Eastern Scenes

Five North-Eastern Scenes for oboe and piano was commissioned by the Kunstförderverein Kreis Düren e. V. for the 2016 Spannungen chamber music festival in Heimbach, Germany. "The piece is in five short movements. The first, third and fifth explore space and melancholy, while the 2nd and 4th are fleeting and at times more violent. This is the third work in which I have used the paintings of the Scottish artist Joan Eardley as a starting point. Her vast, emotive snow scenes painted outside in the brief periods of calm between snow storms capture the striking yet bleak beauty of North East Scotland, an area where I grew up, but have not visited for many years."  - Helen Grime.

SEK 236.00
1

Helen Grime: Harp of the North

Helen Grime: Harp of the North

For Solo Piano. Harp of the North was commissioned by Warren Mailley-Smith in November 2004. First performed at the Stratford-upon-Avon Music Festival, October 2005.A lyrical melody is central to the texture in the opening section, often interrupted or partially shaded by surrounding filigree material. Two passionate and more agitated interjections punctuate the course of the piece, with the lowest of the bass notes, which are sparingly used, occuring at the main climax. A tender and melancholy reminder of the opening material leads the work to a gentle close.

SEK 177.00
1

Witold Lutoslawski: Dance Preludes (Original Version 1954)

Witold Lutoslawski: Dance Preludes (Original Version 1954)

Dance Preludes, for Clarinet and Piano, is an impressive chamber work by Witold Lutoslawski. The five movements which form this work are based on folk songs from North Poland, providing a variety of contrasts.This is the original version of the work, composed in 1954, for Clarinet and Piano. This piece was later revised for chamber ensemble and again for orchestra.The solo clarinet part is also included on a separate insert.

SEK 236.00
1

Carl Vine: Piano Sonata

Carl Vine: Piano Sonata

A complex and challenging Piano Sonata composed by Carl Vine for the Sydney Dance Company in 1991. The piece was first performed by Michael Harvey in North Melbourne in June 1991. The music is full of rich chordal movements, unusual flowing harmonies and tonalities, with great extremes of dynamic and energy. Reflecting the physical origins of the piece as a dance, the music is dotted with very strict changes of tempo which require exact adherence, rather than the Rubato approach that typifies much Piano interpretations.

SEK 276.00
1

Benjamin Britten: Venite Exultemus Domino

Benjamin Britten: Venite Exultemus Domino

This Venite, found among Britten's unpublished works after his death, was evidently composed at the same time as his Jubilate Deo in C major, written in 1961 at the request of H.R.H. The Duke Of Edinburgh for St. George's Chapel, Windsor.The Jubilate Deo itself was composed as a companion piece to the Te Deum in C major dating from 1934, which had been written for Maurice Vinden and the Choir of St. Mark's, North Audley Street, London. In the Venite the tempo indication at the start is editorial, as are a few cautionary accidentals.

SEK 102.00
1

Dave Heath: On Fire For Violin and Piano

Dave Heath: On Fire For Violin and Piano

On Fire is in one movement, fast ? slow, fast with a quiet coda section. The first part is a combination of contemporary rock linn drum patterns in the piano part with Jimi Hendrix-like North Indian cello lines. It builds up to a crescendo leading to a quiet section. Out of this comes a slow movement and a cadenza for the solo cello. In the final section all the elements of the piece at last come together. It is dedicated to Jacqueline du Pré and much of the string writing is highly influenced by Nigel Kennedy?s revolutionary style of playing.

SEK 196.00
1

Bax: A Folk-Tale (Conte Populaire) for Cello And Piano

Bax: A Folk-Tale (Conte Populaire) for Cello And Piano

Sir Arnold Edward Trevor Bax (1883-1953) was an English composer and poet. He studied Piano and composition at the Royal Academy of Music, and was considered, for a time, to be in the leading group of British composers along with Ralph Vaughan Williams and William Walton. He was appointed Master of the King’s Music in 1942. A Folk Tale (Conte Populaire) is scored for Cello and Piano. It is dedicated to Felix Salmond (1888-1962), an English cellist and teacher who enjoyed much success during his lifetime, both in the UK and in north America.

SEK 196.00
1

Simon Holt: The Nightingale's To Blame (Vocal Score)

Simon Holt: The Nightingale's To Blame (Vocal Score)

This new Opera was first performed in 1998 in Huddersfield by Opera North. Designed for the modern stage, it utilises only a small cast and orchestra ? albeit one with a good variety of percussion! The libretto is adapted by the composer from the play ?The Love of Don Pemperlin for Belisa in the Garden? by Feredico Garcia Lorca, translated into English by David Johnston. The plot revolves around the ill-fated marriage of Don Pemperlin, an ageing bachelor and his beautiful neighbour Belisa, which was suggested by Pemperlin?s maid. Tricks and misunderstandings abound and because of them, Pemperlin ends by stabbing himself and dying even as Belisa proclaims her love for him.

SEK 608.00
1

John Tavener: Mand?lion (Organ)

John Tavener: Mand?lion (Organ)

Mand?lion was commissioned for the 1982 Dublin International Organ Festival by RHM Foods. It was first performed on the 27th June 1982 by Pete Sweeney, at St. Patrick?s Cathedral in Dublin. The piece takes its name from the Greek word for ?handkerchief', a word that is also used in iconography to refer to an Ikon ?not made by hands?, which is equivalent to the idea of the shroud. Mand?lion is a meditation upon Ikons, and upon the changing image of the face of Christ. Tavener recommends that this piece should be played freely and with great ?sweep?.

SEK 276.00
1

Michael Nyman: MGV (Musique A Grande Vitesse) - Study Score

Michael Nyman: MGV (Musique A Grande Vitesse) - Study Score

? Musique A Grande Vitesse ? ( MGV ) translates as ?high speed music? and was commissioned by the Festival de Lille for the inauguration of the TGV North European Paris-Lille line in 1993. The piece runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring Brass, in D flat. The topography of MGV should be experienced without reference to planning, description or timetables. The piece?s tempo changes and unpredictable slowings down bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the band (amplified in live performance) lays down the tracks on which MGV runs.

SEK 652.00
1

Michael Nyman: MGV (Musique A Grande Vitesse)- Full Score

Michael Nyman: MGV (Musique A Grande Vitesse)- Full Score

The composer writes "MGV (Musique à Grand Vitesse - High-Speed Music) was commissioned by the Festival de Lille for the inauguration of the TGV North-European line and was first performed by the Michael Nyman Band and the Orchestre national de Lille under Jean-Claude Casadesus on 26 September 1993. MGV runs continuously but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination. The thematic 'transformation' is a key to MGV as a whole, where musical ideas- rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'. For instance the opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring brass, in D flat. And so on: the topography of MGV should be experienced without reference to planning, description or timetables. Tempo changes, unpredictable slowings down, bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the Band (amplified in live performance) lays down the tracks on which MGV runs."

SEK 533.00
1

Hugh Wood: Marina Op.31 (Score And Parts)

Hugh Wood: Marina Op.31 (Score And Parts)

Work for High Voice, Alto Flute, Horn, Harp and Viola. Text: TS Eliot.Quoting Wood: 'I had for many years wanted to set Marina, and the opportunity came to start work on it in mid August 1988. About a year later, having completed in the meantime the Horn Trio Opus 29 and the Cantata Opus 30, I turned back to the drafts of Marina and completed it on 10 September 1989. It is dedicated to the memory of my daughter, who was murdered in Bavaria on 10 September 1988.Marina is the heroine of Shakespeare?s Pericles, a play remarkable for one of the most moving of all Shakespeare?s recognition scenes ? a dramatic situation which never failed to draw out his deepest expression of feeling. This is the re-meeting of an ageing father with his long-lost daughter, born at sea during the storm in which her mother is thought to have died, and long believed to be dead herself. Eliot transforms the two character?s mutual recognition into a transfigured mediation and surrounds it with a wealth of mainly marine imagery. In the words of Helen Gardener, these images are: The prelude to a moment of ecstatic recognition. The voyage in Marina discovers in the ocean anisland, and sees again a beloved face. Its theme is not the immortality of the soul, but resurrection.

SEK 286.00
1

Judith Weir: Atlantic Drift - Three Pieces For Two Violins

Judith Weir: Atlantic Drift - Three Pieces For Two Violins

COMPOSER'S NOTESThe music of these violin duos has been influenced by the centuries-long flow of traditional music from the British Isles to North America and back again. The compositions are dedicated to several people who are keeping that transatlantic musical flow in motion today.Sleep Sound Ida Mornin'Sleep Sound ida Mornin' is a very short duo for two violins based on a traditional tune which I first heard in the Orkney Islands, although played there on the banjo by a native of Kansas. My extended version, with a slow introduction, was first played in Boston on 29th January 1995 by Lesley Chen and Nathan Schmidt, members of the New England Conservatory's Preparatory Division, during their annual weekend festival of contemporary music. This very remarkable and encouraging event was devised and organised by Rodney Lister, to whom this piece is dedicated.Duration c. 2 minutes.Atlantic DriftAn earlier, even shorter version of Atlantic Drift, written for violin and piano, was first performed by Peter Sheppard Skaerved and Aaron Schorr at the Royal Academy of Music, London on 9th May 2006, in a concert to celebrate the 70th birthday of the American composer and transatlantic communicator, Elliott Schwartz. The melody is original, though clearly influenced by the music and perpetual tides of the Hebrides. Duration c. 3 minutes.Rain and Mist are on the Mountain, I'd Better Buy Some ShoesThis four-movement duo for two violins is based on a fragment of a Gaelic folk song from Barra in the Western Isles of Scotland. The title suggests that although the Gaels of yesteryear were rich in poetic expression and the beauties of nature, they were otherwise not very affluent. Rain and Mist was first performed at the Wigmore Hall, London on 6th February 2005, by Corina Belcea and Laura Samuel.Duration c. 6 minutes.J.W.

SEK 196.00
1

John Tavener: The Fool (Chorus Part)

John Tavener: The Fool (Chorus Part)

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint, the highest of all, who discards everything for Christ's sake. He discards all convention, all decency, all wealth, actual and spiritual, and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he "appears" to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool, however, embraces all of this, and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy, false piety, and corruption. He is a figure much needed in our times!!! The way I have tried to tackle this extraordinary subject is to show him in seven stages from an obscene, huge, fat traditional clown who is drunk, fornicating etc., through a stumbling, frail agonized figure, to a sallow-faced, gaunt business man in a formal suit, staring at an empty glass. Having first revered him, then mocked him, the "people", while they get drunk and jabber away at "Christmas", and at the Feast of Feasts 'Easter', are no longer aware of him. But the audience sees him - a tiny, ragged scrap of mortality lying in a corner and faintly, so faintly the voice of the Fool, the true Fool for Christ's sake sings above the ribald crowd. "He has given His life". The Gogmagogs are the 'people', 'priests', 'singers' etc. and one male singer who can "create" or "uncreate" this vast role (singing and acting, miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition, 2000. Chorus part only.

SEK 87.00
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