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Judith Weir: Missa Del Cid For Speaker And Chorus

Missa del Cid was written in 1988, as part of BBC TV?s ?Sound on Film? series, which showed the first performance of the piece in its entirety, together with a documentary about its creation. Subsequently, the work (originally written for ten solo voices) has reappeared in several other guises; performed live in concert, recorded on CD, and staged as part of an operatic evening about the era of the Crusades.The text has been compiled from the early 13th century Spanish epic Poema de Mio Cid (which chronicles the life of the 11th century Spanish outlaw, Ruy Diaz de Vivar); and from the liturgical Latin Mass. Duration c. 25 minutes. A speaker is required for the Evangelist role.

Judith Weir: Concrete - A Motet About London (Vocal Score)

For speaker, mixed chorus and orchestra.

Meschwitz Tier-gebete Speaker/Pf

James Whitbourn: A Prayer Of Desmond Tutu (SATB)

Commissioned by the BBC. For SATB choir, percussion and speaker/narrator.

John Tavener: In The Month Of Athyr

A work for speaker and unaccompanied SATB choir, using words from In The Month Of Athyr by the celebrated Greek poet C.P. Cavafy. Commissioned by the Tallis Scholars to celebrate their 25th Anniversary, and was first performed in November 1998 by the Tallis Scholars with Sting (speaker), conducted by Peter Phillips.

Meschwitz Der Springende Punkt Matthaus 1: Verse 16 Speaker (G)

Benjamin Britten: Night Mail (Study Score)

Study score of Benjamin Britten's Night Mail arranged for speaker and small ensemble. Verse by W.H. Auden. The first performance of this work took place November 1977, London. Duration 5 minutes.

Peter Maxwell Davies: Fool's Fanfare (Score)

A work for speaker and chamber ensemble commissioned by the Globe Playhouse Trust Ltd., and was first performed at the Globe Playhouse in April 1972 by Ron Moody and the London Sinfonietta conducted by the composer. The ukulele can be doubled by a mandolin. Duration c. 7mins.

Benjamin Britten: The World Of The Spirit (Vocal Score)

The first performance of this concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival, by Janice Watson (Soprano), Catherine Wyn-Rogers (Mezzo-Soprano), Timothy Robinson (Tenor), Neal Davies (Baritone), and David Evans (Speaker), with the Joyful Company of Singers and the City of London Sinfonia, conducted by Steuart Bedford.

James Whibourn: The Wounds (Vocal Score)

The Wounds was expertly composed by British composer James Whitbourn, for SATB chorus, Speaker, Violin, Cello, and Organ. This selection includes the full Vocal score. James international reputation as a composer began very early on as a programme maker at the BBC.?The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.? James Whitbourn

James Whibourn: The Wounds (Full Score)

The Wounds was expertly composed by British composer James Whitbourn, for SATB chorus, Speaker, Violin, Cello, and Organ. This product include the full score. James international reputation as a composer began very early on as a programme maker at the BBC.?The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.? James Whitbourn

James Whibourn: The Wounds (Parts)

The Wounds was expertly composed by British composer James Whitbourn, for SATB chorus, Speaker, Violin, Cello, and Organ. This selection include Cello, Organ and Violin parts. James international reputation as a composer began very early on as a programme maker at the BBC.?The Wounds is intended as a devotional work and is best heard in the context of a liturgical event in - or close to - Passiontide. Each section continues from the previous one without pause to create a seamless whole.? James Whitbourn

John Tavener: The Whale

The Whale, written by John Tavener in 1968 as a documentary in music and spoken word, was given its first performance by the London Sinfonietta and the London Sinfonietta Chorus, conducted by David Atherton, wit Anna Reynolds (mezzo-soprano) and Raimond Herinex (baritone) in the Queen Elizabeth Hall, London, on the 24th January 1968. For solo baritone, solo mezzo-soprano, speaker, SATB chorus and orchestra.Large (A3) score. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

Dankworth: Suite For Emma for Clarinet and Piano

Suite for Emma is written in four movements – Valse, the haunting Pavane, Ballade and the Scherzo finale – and calls upon the entire range of the clarinet as well as demanding a very high level of musicianship in the Piano. Although written for Emma Johnson’s clarinet, the Suite is a partnership between the instruments.John Dankworth was a towering figure in British jazz almost from the earliest years of his career as a jazz composer, Saxophonist and clarinetist, and as an educator and speaker until his death in 2010. This piece was written for Emma Johnson, the 1984 Young Musician of the Year. She has since recorded it.

Benjamin Britten: The World Of The Spirit

Britten's The World of the Spirit was written for BBC Radio in 1938, his second collaboration with R. Ellis Roberts. The wide-ranging texts from religious books, poetry, and newspaper articles about the First World War and Irish 'Troubles' are complemented by a rich variety of musical styles from the prodigious composer.The first performance of this concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival, by Janice Watson (Soprano), Catherine Wyn-Rogers (Mezzo-Soprano), Timothy Robinson (Tenor), Neal Davies (Baritone), and David Evans (Speaker), with the Joyful Company of Singers and the City of London Sinfonia, conducted by Steuart Bedford.

Thinking I Hear Thee Call

Thinking I Hear Thee Call by Cheryl Frances-Hoad is inspired by the life of Florence Attridge, an Essex woman who, whilst working at the Marconi factory in Chelmsford during WWII, helped to make secret radio sets for spies. In this piece for soprano, speaker and electronics, we hear Florence recount her experiences, whilst, in another, secret location, in another time, a spy goes through the radio's (complicated!) set up instructions one last time before going on their first reconnaissance mission. The electronic element takes sounds that are associated with Florence's life and the history of Marconi, including morse code and "Absent", the first song to be broadcast from the factory. The text for Florence's part was written by Frances M Lynch based on research by Patricia Fara, and the speakers text comes from the official manual for the British Type 3 Mark II Spy Radio. Watch the video The performers from electric voice theater are:- Frances M Lynch - Soprano (Florence Attridge) Margaret Cameron - Speaker (Spy). The performers recorded their parts individually in their homes and the final work was combined with the composer's electronic track and produced by Frances M Lynch & Herbie Clarke at Birnam Studios, London. The work was commissioned by electric voice theater and first performed online during the Covid-19 Pandemic, Aug 24th 2020 as part of the 'Echoes from Essex'. The project was supported by the Arts Council Emergency Response Fund (National Lottery).

Benjamin Britten: The World Of The Spirit (Full Score)

This concert version has been prepared by Donald Mitchell for Soprano, Alto, Tenor and Baritone soloists, 1 or 2 speakers, SATB choir and Orchestra. The text has been compiled by R. Ellis Roberts.The first performance of this concert version was given on 27th June 1998 in the Snape Maltings Concert Hall as part of the Aldeburgh Festival, by Janice Watson (Soprano), Catherine Wyn-Rogers (Mezzo-Soprano), Timothy Robinson (Tenor), Neal Davies (Baritone), and David Evans (Speaker), with the Joyful Company of Singers and the City of London Sinfonia, conducted by Steuart Bedford.Orchestration is for 2 Flutes2 Oboes2 Clarinets in B flat2 Bassoons4 Horns in F2 Trumpets in C3 TrombonesTubaTimppaniSuspended CymbalClashed CymbalsGongSide DrumBass DrumTambourineHarpOrganStrings

Kaija Saariaho: Bosun's Cheer - Period Instrument Version

Finnish composer Kaija Saariaho 's Bosun's Cheer , composed in 2014. Included here are the score and parts for the Period Instrument Version , arranged for a speaker, Violin, Cello and Double Bass. Born in Helsinki and having studied composition there and in Freiburg and Paris, Kaija Saariaho  has achieved a great level of critical and audience acclaim now mid-career. Her previous work was notable for including electronics alongside more traditional instruments before going on to compose much larger works, including the epic opera 'L'Amour de Loin' in 2000, a recording of which won the 2011 Grammy award for best opera recording.  This piece, Bosun's Cheer, is an exhilarating work, including some inventive instrumental techniques as well as a hauntingly poetic voice. The version for modern instruments can be found  here .

Kaija Saariaho: Bosun's Cheer - Modern Instrument Version

Finnish composer Kaija Saariaho 's Bosun's Cheer , composed in 2014. Included here are the score and parts for the Modern Instrument Version , arranged for a speaker, Flute, Cello and Double Bass. Born in Helsinki and having studied composition there and in Freiburg and Paris, Kaija Saariaho  has achieved a great level of critical and audience acclaim now mid-career. Her previous work was notable for including electronics alongside more traditional instruments before going on to compose much larger works, including the epic opera 'L'Amour de Loin' in 2000, a recording of which won the 2011 Grammy award for best opera recording.  This piece, Bosun's Cheer, is an exhilarating work, including some inventive instrumental techniques as well as a hauntingly poetic voice. The version for period instruments can be found  here .

Nico Muhly: It Remains To Be Seen (Full Score)

Nico Muhly's It Remains To Be Seen was written in 2006 for for full Orchestra and has a duration of approximately 11 minutes. Composers Note: It Remains to be Seen was written for the Boston University Tanglewood Institute’s 40th Anniversary Gala in July 2006. The piece begins with a chord identical to the one at the end of Stravinsky’s Firebird suite and proceeds into a series of charged nocturnal episodes. I wanted to treat the feeling of having just heard music, and being expected to make one’s own – referencing the experience of leaving a BSO concert at the shed, walking back to BUTI on a curvy back road, arguing about music in pairs and threes, and at the sign of bright headlights from behind, reorganizing in single file as a car filled with happy concert-goers speeds by. The piece is a nine-minute navigation of an excited, occasionally illuminated, dark road filled with arguing, cars, fragments of remembered music, and a constant, propulsive pulse. Nico Muhly

Rolf Wallin: Stonewave For 3 Percussionists (Parts)

Composer's Notes:The last few years I have become increasingly involved in some peculiar mathematical formulas called "fractals". These formulas, used in the fast growing field of "Chaos theory", are relatively simple, but they generate fascinating and surprisingly "organic" patterns when shown graphically on a computer screen, or played as music. One should think that such a mathematical approach would lead to sterile and 'theoretical' music. The sound world of Stonewave, however, is not one you would associate with math books. The steady, insistent pulse, and the use of sequences put squarely up against each other or divided by long rests suggest an invisible ritual. A ritual for what?Well then, let it be a ritual for the exorcism of some 'evil spirits' which now ride our part of the world under the name of Liberalism, making people the servants of the Market Forces instead of vice versa. Stonewave is therefore an incantation, as it seems that only divine forces can save European culture from a political system that proclaims the Jungle Law as the guiding principle in social and cultural life. Rolf Wallin

Rolf Wallin: Stonewave For Three Percussionists (Score)

Composer's Notes:The last few years I have become increasingly involved in some peculiar mathematical formulas called "fractals". These formulas, used in the fast growing field of "Chaos theory", are relatively simple, but they generate fascinating and surprisingly "organic" patterns when shown graphically on a computer screen, or played as music.One should think that such a mathematical approach would lead to sterile and 'theoretical' music. The sound world of Stonewave, however, is not one you would associate with math books. The steady, insistent pulse, and the use of sequences put squarely up against each other or divided by long rests suggest an invisible ritual. A ritual for what? Well then, let it be a ritual for the exorcism of some 'evil spirits' which now ride our part of the world under the name of Liberalism, making people the servants of the Market Forces instead of vice versa. Stonewave is therefore an incantation, as it seems that only divine forces can save European culture from a political system that proclaims the Jungle Law as the guiding principle in social and cultural life. Rolf Wallin

Rolf Wallin: Stonewave For Solo Percussion (Score)

Score of Rolf Wallin's Stonewave for solo Percussion. Composer's Notes:The last few years I have become increasingly involved in some peculiar mathematical formulas called "fractals". These formulas, used in the fast growing field of "Chaos theory", are relatively simple, but they generate fascinating and surprisingly "organic" patterns when shown graphically on a computer screen, or played as music. One should think that such a mathematical approach would lead to sterile and 'theoretical' music. The sound world of 'Stonewave', however, is not one you would associate with math books. The steady, insistent pulse, and the use of sequences put squarely up against each other or divided by long rests suggest an invisible ritual. A ritual for what? Well then, let it be a ritual for the exorcism of some 'evil spirits' which now ride our part of the world under the name of Liberalism, making people the servants of the Market Forces instead of vice versa.'Stonewave' is therefore an incantation, as it seems that only divine forces can save European culture from a political system that proclaims the Jungle Law as the guiding principle in social and cultural life. Rolf Wallin