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Playstrings Moderately Easy No. 13 Strings On Tour (Townsend)

Playstrings Moderately Easy No. 13 Strings On Tour (Townsend)

Chapple: Praeludiana for Organ

Modest Mussorgsky: Song Of The Flea (Baritone/Piano)

John Tavener: The World Set Of Parts

John Tavener: The World

Thea Musgrave: Trio For Flt/Oboe/Pf Sc/Pts

Ludovico Einaudi: Nightbook

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures, I took the Commedia dell?arte character, Pierrot as my primary source of inspiration. Other more tenuous links to Schoenberg?s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements, whereas the Schoenberg comprises three sets of seven movements. Although there is no part for voice, I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4. Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem, but in the piece as a whole, I wanted to explore the extreme contrasts of the multi-faceted character of Pierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1, 3, 5 and 7 are closely linked, both in terms of their musical material and a sense of melancholy, dream-like quality and longing. Movements 2 and 6 are also strongly connected, with allusions to the more mischievous, violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work, juxtaposing a surreal, shimmering calm with brutal outbursts. There is never any direct repetition, yet there is a strong sense of material returning and mutating as the work unfolds.InstrumentationFlute, doubling piccoloClarinet in Bb, doubling Bass Clarinet in BbViolin, doubling ViolaCelloPiano

SEK 533.00
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John Luther Adams: Everything That Rises

Hugh Wood: Ballade Op.57

Hugh Wood: Ballade Op.57

Hugh Wood's Ballade Op.57 for Piano was commissioned by BBC Radio 3, and first performed by Joanna MacGregor on 7th June 2012, at the Guildhall, Bath, as part of the Bath International Music Festival."The music of Chopin is a revelation which came disgracefully late in my life. To admire is one thing; to try to emulate is quite another: and all that I have borrowed here is a title. Perhaps memories of Joanna MacGregor performing the Fourth Ballade very beautifully long ago played a part in the naming. But to define what a Ballade should or should not be is quite beyond me: after all, Chopin and Brahms both came to quite different conclusions. I just like the old, rather poetic word.A fanfarish beginning ends in a falling arpeggionic cascade which will recur in varied form at turning points throughout the piece. A major third emerges, to become the accompaniment to the main lyrical melody which becomes more and more decorated until it ends with a second cascade. The tune resumes more urgently against an undulating semiquaver accompaniment. A bigger climax suddenly gives way to a reminiscence of one of the opening figures and then introduces alla recit., a new motif. But immediately the main melody continues ? this time getting gradually calmer, quieter and sweeter ? until the new motif takes over in a passage of 6 and is more fully worked out.From very high up, the opening fanfares are heard in the distance, and a faster tempo brings a more vigorous passage, culminating in the biggest and most climactic of the cascades. This might be the end of the piece, but it is not. A sequence of soft, velvety chords rises up, eventually to reveal the original major third. Four phrases of the opening melody are then heard over it in their plainest form." - H.W.

SEK 196.00
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