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Burgon: First Was The World (Vocal Score)

Burgon: First Was The World (Vocal Score)

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go, but it wasn?t until I found the Andrew Marvell poem Music?s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry, but in fact it is both charming and dramatic, and it is also apt in that it can be set for both solo voice and chorus.The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964, the year the bank was founded, and this piece is also included in the celebratory concert. So I wanted to include some homage to HP as well.Marvell?s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might have set had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly, and I have used the countertenor. Purcell himself sang countertenor in many of his own pieces, and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell?s music and the countertenor so writing this piece was really a labour of love.It is scored for countertenor, mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know, but one in which I?m sure he would have revelled in given the opportunity. It is about ten minutes in duration.

SEK 137.00
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Elizabeth Maconchy: Five Sketches For Viola Solo

Elizabeth Maconchy: Five Sketches For Viola Solo

'Five Sketches' was commissioned by Nicholas Logie and first performed by him on 31 May 1984 at the Wigmore Hall.Quoting Maconchy: I have always had a particular affection for the viola with its dark tone-colour and its unlimited expressive range.I have tried in these pieces to explore that range and to make them well varied in rhythm and content.The note E which the work begins and ends serves as a sort of ?point d?appui? all through.'

SEK 177.00
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Henry Purcell: Chacony In G Minor For Strings (Parts)

Henry Purcell: Chacony In G Minor For Strings (Parts)

There are three mysteries about this piece by Purcell originally scored for Viols. When it was written, for what purpose it was written, and why the eccentric title ‘Chacony’ rather than the French ‘chaconne’ are questions whose answers are all shrouded in the mists of time. The suggested dates of early 1680’s and as a piece of light music for some sort of theatrical performance almost answer two of the three questions. The Chacony is scored here for String quartet, but could be played by a larger ensemble.

SEK 196.00
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Helen Grime: The Brook Sings Loud

Helen Grime: The Brook Sings Loud

For Piano Trio.The Brook Sings Loud was commissioned by the Aberdeen Chamber Music Club for the Kungsbacka Trio."As this was one of the first pieces that the Club commissioned, I thought it would be appropriate for the piece to have some sort of Scottish theme or influence. I have always been interested in Pibroch (Piobaireachd) - classical bagpipe music that was prevalent from the sixteenth to the eighteenth centuries in the Scottish Highlands. I have not attempted to imitate the sound of the bagpipes; however, I have been influenced by some of the techniques associated with this music."        Helen GrimeInstrumentation:ViolinCelloPiano

SEK 385.00
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Peter Maxwell Davies: Sonata For Clarinet And Piano

Peter Maxwell Davies: Sonata For Clarinet And Piano

This work, which was written shortly after the Trumpet Sonata and the Five Pieces For Piano, was first performed by Georgina Dobree and the composer at the 1957 Darmstadt Festival. The score was subsequently lost, but was rediscovered by Kevin Corner in 1983.'This is a dramatic, emphatic and at times extravagant piece. The first movement is a Moderato reaching through wide-flung clarinet lines and keen piano gestures to a great climax near the end. Then comes a quick movement, a kind of demonic scherzo, including a cadenza for the clarinettist. The finale is an Adagio that gradually achieves a sort of simplicity, though not before exceedingly testing times for both players.Duration c. 25mins.

SEK 236.00
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Bantock: The Highland Lament of Pibroch for Cello And Piano Or Harp

Bantock: The Highland Lament of Pibroch for Cello And Piano Or Harp

Pibroch, which literally means ‘piping’ in Scots Gaelic, has been traditionally played on the bagpipes for several centuries. But there is an earlier tradition of pibroch having been performed on the wire-strung Celtic harp, and it is this earlier practice that Bantock recalls with the arpeggiated accompaniment of the harp or Piano in his Pibroch. The throaty Cello tones carry the sadness of the lament.Composer, conductor and educator Granville Bantock’s Scottish parentage certainly influences much of his music oeuvre, which is reaching new audiences through renewed interest in the performance of his works, including at the last night of the Proms. He was an energetic and creative personality who was key in founding the City of Birmingham Symphony Orchestra and championing the music of Jean Sibelius in his day. Edward Elgar dedicated the second of his Pomp and Circumstance Marches to Bantock.

SEK 196.00
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Maconchy: Pied Beauty, Heaven Haven (Score)

Maconchy: Pied Beauty, Heaven Haven (Score)

These settings were written to a commission from the Southern Cathedrals Festival and first performed in Salisbury Cathedral on 24 July 1976 by choirs of Salisbury, Winchester and Chichester Cathedrals with the Phillip Jones Brass Ensemble, conducted by Richard Seal.Pied BeautyThe rhythmic elasticity and freedom of the poem matches the vividness of its images and the freshness of the poetic language: it is like light playing on water. In this setting for choir and brass phrases for trumpets and then voices- ?Glory to be God?- Alternate with more meditative moments- ?who knows how??. The contrast of the poem- ?swift, slow ? sweet, sour- a dazzle, dim? quick changes from sunshine to shadow- are mirrored in the music.Heaven HavenThe stillness and serenity of this poem, one of Hopkins? earliest, is in direct contrast to the other. ?Out of the swing of the sea?, to a gently rocking figure, runs as a sort of undercurrent through the piece. At the end this figure combines with a motive in thirds, (heard quietly on the trumpets at the opening) and expands slowly, with the choir in eight parts, before dying away into silence.

SEK 117.00
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Simon Holt: Piano Trio - Los Ojos (Score/Parts)

Simon Holt: Piano Trio - Los Ojos (Score/Parts)

Score and parts for Simon Holt 's Piano Trio: Los Ojos , for Piano Violin and Cello. Piano Trio: Los Ojos was first performed on 25th November 2013 in the Amaryllis Fleming Concert Hall at the Royal College of Music, London, by Johannes Marmén (Violin), Zoé Saubat (Cello), and Gwenaelle Rouger (Piano). I finished writing Piano trio: Los Ojos in early May 2007. It is approximately 13 minutes long and has a three-movement structure of essentially two slow movements separated by a central fast section. The final slow movement is a variation of the opening movement, ending with a ‘toy’ – defined by ThomasMace (a contemporary of William Lawes) in his 1676 book, Musicke’s Monument, as ‘a light-Squibbish Thing, only fit for Fantastical, and Easie-Light-Headed People; and are of any sort of Time’. The Machado poem behind the piece, Los Ojos (the eyes), is about a widower who has locked himself away, but after a year begins to wonder about the colour of his beloved’s eyes. He is horrified that he can’t remember. One spring day, he leaves the house and just happens to glimpse a flash of eyes through a window and instantly recalls the colour; ‘¡Como esos!’; ‘Like those!’. The three movements have the titles: 1] su memoria y el espejo ‘his memory and the mirror’; 2] ¿Como eran? ‘How were they?’; and 3] ¡Como esos! ‘Like those!’. - Simon Holt

SEK 365.00
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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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Hugh Wood: Variations Op. 1

Hugh Wood: Variations Op. 1

For Viola and Piano, this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and his pupils and I knew at once that they were to show me the way forward for my music; as, indeed, they have ever since. The revelation was primarily an emotional experience for me, and however imperfectly their influence was received, it was obviously reflected in the all-out chromaticism (new for me then), in the many chains of twelve notes, or lesser chromatic formations (which do not here amount to serial working, and have only rarely done so since), in the characteristic harmonic and rhythmic formations, the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway, I knew then that this was the sort of music that I henceforth would want to write, and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme, heard on the viola. Six Variations follow, of which No.3 is the most violent, and No.4 the most sustainedly lyrical. The recitative-like sixth variation leads into the Finale, a more extended movement. The Theme, returning on the piano, leads to a climax at which there is a citation from Beethoven?s C minor Variations for piano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.

SEK 196.00
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Anthony Payne: 1940's Childhood

Anthony Payne: 1940's Childhood

Work for Flute and Guitar, commissioned by Clive Conway and Gerald Garcia.Anthony Payne: 'As a passionate Elgarian for most of my musical life, I was fascinated by the prospect of writing something which reflected or somehow incorporated his Memorial Chimes written for the Loughborough Carillon, a piece, moreover, which I did not know, although I pride myself on an intimate acquaintance with the greater part of his output. My own style is a far cry from that of the English late-romantics which I so love, but I have recently discovered how to relate to their music in more than just spiritual and emotional particulars, and in Spring's Shining Wake I produced a gloss of Delius' In a Summer Garden, finding equivalents in my vocabulary for each of that work's procedures, somethings approaching the original closely and sometimes shadowing it from afar.p>When I saw the Elgar I immediately realised that this kind of approach was out of the question. For one thing it is quite a short piece and frankly it is not one of the master's great inspirations. It does, however, possess one characteristically haunting phrase, and I saw how I could draw it within my own harmonic and textural orbit, not the sort of idea to base a work on, but a happy little discovery such as one often makes during the course of composing a work.I accordingly set out to write a short tone poem which somehow draws together the sonorous 'objets trouvés' which float into the mind during intense contemplation of a still landscape, memories of the past (the Elgar), intimations of magic in the wind, sudden intense perceptions of the cosmic forces of which we form such an insignificant part, ominous vibrations borne on the air from some other existence.

SEK 276.00
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Helen Grime: Clarinet Concerto (Clarinet/Piano)

Helen Grime: Clarinet Concerto (Clarinet/Piano)

For solo Clarinet in Bb and Ensemble.Clarinet and Piano Reduction.Commissioned by the Tanglewood Music Center, through the generous support of the Mervyn Geffen M.D. and Norman Solomon M.D. New Commissions Fund.First performance by Brent Besner, Clarinet, and fellows of the Tanglewood Music Center, August 2010.1. With Vigour2. Free and Enigmatic3. CalmoThere is usually some sort of extra-musical starting point for my pieces, and for the Clarinet Concerto this was ?The Cracked Bell? by Baudelaire. In a short space of time the work seemed to take over and move further away the original stimulus, with the character and interactive roles of the soloist and ensemble were suggested by the wintry, evocative atmosphere of the poem.The piece opens with declamatory, cadenza-like passages in the clarinet that are in turn commented on by the ensemble. A more playful section, where the clarinet line is very virtuosic, leads to a long, gently-unfolding melody in the ensemble that begins in the depths of the bass register and gradually gets much higher. Virtuosic clarinet lines interject against the accompaniment, and both pursue their own course until culminating in a high, impassioned melody for the clarinet, coloured by fast-moving passage work in the higher registers of ensemble. The movement ends with the ?call and response? lines of its opening.The second movement opens with an extended solo for the clarinet in its haunting chalumeau register. With each rising phrase, the clarinet line gets higher until the ensemble enters in unison. The movement becomes much faster and energetic from this point, with brisk, fleeting lines for soloist and ensemble.The third movement is the most reflective of the three. It opens with a flute solo leading to the solo clarinet line, and makes much of the poignant singing style which is so characteristic of the instrument. A melancholy falling passage in the ensemble becomes a recurring feature before the clarinet refers to the piece?s opening in a more impassioned section. The piece closes with gentle descending scales in the ensemble, dying away to nothing.        Helen Grime

SEK 315.00
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Hugh Wood: String Quartet No.4 Op.34 (Score And Parts)

Hugh Wood: String Quartet No.4 Op.34 (Score And Parts)

Commissioned by the BBC and premiered by the Chilingirian String Quartet.Quoting Wood: In my Second and Third Quartets I attempted sectional, agglutinative forms: in my Fourth I return to the conventional four movement form of my First Quartet of 1962. Both works build up (as in the 19th century symphony) to the Finale, thus making it the most substantial movement, which provides a climax to the work. The First Movement has, in both works, only the status of an Introduction.But there the consciously willed resemblances end. This Introduction follows the Second Quartet to a certain extent, in that it provides a sort of ?cauldron?, from which elements to be used later can all be plucked. Its opening will reappear at various points throughout the work, most completely at a climatic point of the Finale (bar 110). Subsequent material will be more fully worked out in the second movement, a large Scherzo. The Introduction concludes with an unusually placed violin cadenza (itself a rare feature in a string quartet, the idea lifted from Elliott Carter?s First Quartet) of which the opening is to reappear halfway through the Finale.The Scherzo (which follows attacca) does not have at its centre a discretely characterized Trio: a figure in double-stops like a distant fanfare supplies the necessary contrast of a second idea. The Slow Movement has a secondary idea first heard on the cello and marked appassionato: an agitato middle section recalls the opening of the work, but in a formulation which will be found closely to anticipate its reappearance in the Finale.The Finale is planned on a broad scale. Only after a fully worked exposition of both primary and secondary material does the opening of the whole work return, now in a greatly extended form. Then, at bar 140, the tune of the violin cadenza is first harmonized in fanfare style on the upper instruments, then presented as a chorale on the lower ones, with a rushing semiquaver accompaniment above. This climatic activity mounts to the very end.The work is dedicated to the Chilingirian Quartet, old friends over many years.Score available separately: SOS04044

SEK 811.00
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John Harle: Arcadia

John Harle: Arcadia

Arcadia is a work for Violin, Soprano Saxophone and Piano, inspired by the painting 'Pastoral for E.W.' by John Craxton. As a painter, John was sometimes dubbed a 'neo-Romantic', but much preferred the term 'Arcadian' - hence the title of the piece. Pastoral for E.W. was painted in 1948 in St John's Wood after one of John's early trips to the island of Crete, and is a homage to Peter Watson, (co-founder of the magazine 'Horizon' and the Institute of Contemporary Arts), who was one of John's early mentors.In a letter in 1986, John recounted that: "?Pastoral for P.W.?: was a celebration of the power of music. My sister (the distinguished oboist Janet Craxton) was learning the oboe on the same floor at the time, and the house was full of her scales and exercises coupled with my discovery that goats, which seem to be daemonic, willful and undisciplined, are held in thrall by the sound of a flute - or have I gone a step further and frozen them into my geometry with a paint brush? I suppose the flautist was in origin myself, but a very emblematic me!" Ian Collins in his book 'John Craxton' (2011 Lund Humphries) says of Pastoral for E.W.: "A pipe-player and a herd of goats are held in a rugged grid of semi-cubist triangles. While references to Dionysus and Orpheus may be noted, it is essentially a fanfare for the ongoing life, light and landscape of Greece". The music of Arcadia is also Grecian in inspiration. The traditional folk melodies Skaros Epirotikos, Vari Pogonisio, Ouzak To Tragoudhi Tis Xentias and Pentozalis - Pentozalis are present in Arcadia, after I researched the type of music that John would have heard in Crete in the late 1940's. In a letter of 3rd May 1984, John said that he was also listening to Stravinsky's Symphony in 3 Movements "over and over again at the same time when I first started the painting", and aspects of the beginning of the last section of Arcadia (Allegro Moderato) pay homage to the Stravinsky, in an attempt to create something of the aural landscape that John would have been experiencing during his painting of Pastoral for E.W. As a personal friend, John was always encouraging and colourful in his comments about the music I played at the Craxton house in Hampstead (where I continue to rehearse and teach), and some of the jazzier themes and tonalities in Arcadia are simply the sort of music that would get him enthused, and (almost) dancing.ARCADIA is written for and dedicated to the memory of John Craxton RA (1922 - 2009).JOHN HARLE.The first performance of Arcadia was given by Pavel Spørcl (Violin) John Harle (Soprano Saxophone) and Steve Lodder (Piano) In a concert for The Craxton Trust on September 23rd 2012 at Craxton Studio, Hampstead, London. A recording is available on Sospiro Records.

SEK 484.00
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