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Nico Muhly: Clear Music

Nico Muhly: Clear Music

Written for cello, harp and celeste. Clear Music (after John Taverner) was written at the request of the cellist Wendy Law during the summer of 2002. Clear Music is an extended exploration of a single measure in John Taverner’s (1490–1545) motet Mater Christi Sanctissima. What I attempted to do in Clear Music was to suspend this measure for as long as I could imagine in a single texture: the bright clarity of the celeste and harp. As in the Taverner, I have structured Clear Music into a series of peaks featuring the highest registers of the treble voice—here, the cello. I remember very vividly performing this piece and being struck by how distant the treble was from the other voices - sometimes, there are spaces of over an octave between the treble and the alto - and I attempted to recreate the somewhat terrifying and exposed contours of these lines. The end result is, I hope, a prolonged and transparent recollection of the Taverner which exposes not only my appreciation for the music itself but also my response to performing it. Nico Muhly.

SEK 315.00
1

Nico Muhly: Stabat Mater Dolorosa - Parts

Nico Muhly: Stabat Mater Dolorosa - Parts

Nico Muhly 's Stabat Mater Dolorosa for Soprano, Baritone and Ensemble. Parts. My Stabat Mater is a very simply-constructed piece of music. I knew I wanted to write a duet, a piece of religious music, and something to go along with a bit of Birtwistle. My initial instinct was to base the piece on drones, as Birtwistle's music has so very many notes, but then I decided that an austere but ecstatic approach was the best to fill a coherent evening. I asked my friend Craig Lucas to paraphrase the Stabat Mater text - which describes the Virgin Mary weeping at the foot of the cross on which her son is crucified. The piece is organised by separating each phrase of the text with a moment of silence, with the exception of the last three, which are joined with a frenzied chorale with improvised dynamics from the Harp, Wind and Strings . - Nico Muhly Instrumentation: Soprano and Baritone voice, Flute, Clarinet in Bb, Harp, Violin, Viola and Violoncello. 

SEK 315.00
1

Nico Muhly: Stabat Mater Dolorosa - Full Score

Nico Muhly: Stabat Mater Dolorosa - Full Score

Nico Muhly 's Stabat Mater Dolorosa for Soprano, Baritone and Ensemble. Full score. My Stabat Mater is a very simply-constructed piece of music. I knew I wanted to write a duet, a piece of religious music, and something to go along with a bit of Birtwistle. My initial instinct was to base the piece on drones, as Birtwistle's music has so very many notes, but then I decided that an austere but ecstatic approach was the best to fill a coherent evening. I asked my friend Craig Lucas to paraphrase the Stabat Mater text - which describes the Virgin Mary weeping at the foot of the cross on which her son is crucified. The piece is organised by separating each phrase of the text with a moment of silence, with the exception of the last three, which are joined with a frenzied chorale with improvised dynamics from the Harp, Wind and Strings. - Nico Muhly Instrumentation: Soprano and Baritone voice, Flute, Clarinet in Bb, Harp, Violin, Viola and Violoncello.

SEK 385.00
1

Nico Muhly: Diacritical Marks (Score/Parts)

Nico Muhly: Diacritical Marks (Score/Parts)

Diacritical Marks was written for the Chiara Quartet in 2011, and is in eight short movements. I have a huge anxiety about string quartets; they are normally meant to be giant expressions of a composer?s emotional life. Here, I focused on details: a tiny dot above a letter, a tiny swivel of the bow. The first and last movements are energetic and driving, and the middle movements are more lyrical, rhapsodic, and/or floating. The quartet is bound together by a piece of drone music, found in movements 3, 5, and 7, in which the second violin and the viola play an interlocking repeating pattern ad infinitum, while the cello and first violin spin very long, outrageous lines on top. The piece lasts just under 20 minutes. ?Nico Muhly

SEK 350.00
1

Nico Muhly: My Days (Full Score)

Nico Muhly: My Days (Full Score)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Full score. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

SEK 196.00
1

Nico Muhly: My Days (Parts)

Nico Muhly: My Days (Parts)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Parts for five Viols. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

SEK 276.00
1

Nico Muhly: Choral Collection

Nico Muhly: Choral Collection

This exclusive collection brings together 12 of Nico Muhly’s sacred works for mixed-voice choir. These vivacious, fresh and dramatic pieces will make an impact whether in the church or in the concert hall, and range from the intimate Lord, keep us modest when we claim to the effervescent Bright Star Carol, alongside service music such as Muhly’s Third Service. All are accessible to learn, and offer choirs a new slant on contemporary choral music at its very best.  "Choral music has always been at the emotional core of my musical output. Even when I’m writing large-scale orchestral works (or, indeed, chamber music), I always find myself returning to techniques and textures I’ve greedily stolen from centuries of music from Tye to Howells, early and recent. I try to design my own choral music primarily for use in worship, where the measure of the success of the piece is if it helps guide the listeners’ ears upwards and elsewhere, as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is, for me, an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year, but an anthem for Candlemas works only then, at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process, I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets, and represent a decade and a half of output." - Nico Muhly

SEK 315.00
1

Nico Muhly: Step Team (Full Score)

Nico Muhly: Step Team (Full Score)

Nico Muhly 's Step Team for 9 players. Full score. ' Stepping is a form of almost militaristic dancing involving the entire body as well as the voice. The routines are highly choreographed and precise but maintain an expressive freedom that comes out of the energy required to pull off the moves. In writing this piece for the Chicago Symphony MusicNOW, I wanted to avoid too much delicate, pointillistic writing and instead focused on making the nine players function as one team with a singular rhythmic agenda. Whenever the Chicago Symphony comes to New York, I am always impressed with the massive steakhouse-style proportions of the brass sound, so, this score features the Bass Trombone as a guide for the harmonic and lyrical material. At a certain point in the piece, the rhythmic unisons begin to break down, and individual players or groups of players start slowing down or speeding up against the pulse. The Bass Trombone works as a unifying element here, announcing the changes between sections. Some scattered pulses ensue, and the brass section continuously shepherds the other instruments back into line. Step Team ends with a duet between the Bass Trombone and the Piano, with a series of ornaments from the other players. ' - Nico Muhly Instrumentation: Flute, Bassoon, Horn in F, Tenor Trombone, Bass Trombone, Piano, Violin, Viola, Cello

SEK 385.00
1

Nico Muhly: Moving Parts (Score/Parts)

Nico Muhly: Moving Parts (Score/Parts)

Composer's note:'Moving Parts is the music for Benjamin Millepied?s ballet of the same name. Scored for Violin, Clarinet and Pipe Organ, the piece is a series of rhythmic etudes. The slow movement is a very slow passacaglia, with, I hope, unexpected lyrical melodies in the violin. After an extended Organ toccata built over a drone, a brief slow movement creates a natural midpoint. The violin, aggressively plucking, builds up to form a canon with a clarinet, and after a loud outburst from the organ, the piece ends quietly. Moving Parts, written in 2012, is dedicated to Benjamin and the Los Angeles Dance Project. 

SEK 385.00
1

Nico Muhly: Time After Time (Score)

Nico Muhly: Time After Time (Score)

Written for soprano saxophone, marimba and percussion. Time After Time was written for the Yesaroun’ Duo (comprising multi-percussionist Sam Solomon & saxophonist Eric Hewitt) and marimbist Nancy Zeltsman. I set out to write a piece that was primarily energetic and rhythmically challenging enough for two percussionist and one honorary percussionist to play. The title refers to the fact that all the material recycles itself at different speeds. The marimba’s long, quasi-chorale lines proceed, initially, without noticing the rhythmic shifts and upheaval below. Halfway through the piece, a jagged marimba solo features the instrument’s precise, dance-like qualities, and after being joined by the saxophone and percussion, propels the whole ensemble towards the rhythmic and harmonic excesses of the final section.

SEK 385.00
1

Nico Muhly: Common Ground

Nico Muhly: Common Ground

Commissioned for the Claremont Trio by Robert and Jane Morse for the world premiere performance October 30, 2008. Score and parts for Piano Trio (Violin, Cello and Piano). Common Ground employs three different repetitive techniques. The first third of the piece is a cycle of chords of expanding and contracting length, with the violin and cello trading agitated little lines. The second is a pastoral obsession over essentially one chord: light changing over a field. Here, the cello leads, and the violin and piano offer insect-like interruptions. After a metronomic interlude and a free-form interlude, the piano begins stating a ground bass -- a repetitive line around which the harmonies constantly shift. This sort of thing pops up in Purcell, where I first encountered it as a choirboy. The piece ends with a hyperactive recapitulation and is approximately nine minutes long. - Nico Muhly

SEK 325.00
1

Nico Muhly: Old Bones

Nico Muhly: Old Bones

Nico Muhly 's Old Bones is a setting of four texts, three of which are the media's reaction to the discovery of the bones of Richard III in a Leicester car park, the fourth is a poem in praise of the man who supposedly killed the king. Arranged for Countertenor Voice and Lute, it was composed in 2013. According to Muhly , Old Bones  begins with a news report that is delivered as a recitative while the Lute parts go through a number of interesting patterns. The work sets two texts by Philippa Langley of the Richard III Society who, in a series of interviews, brought an emotion and passion to the rediscovery of the bones that humanised the remains and brought the life and death of the king to the public's attention. It is therefore fitting that Old Bones  ends with her words: "Everyone else was looking at the old bones, and I was seeing the man."

SEK 236.00
1

Nico Muhly: Pulses, Cycles, Clouds

Nico Muhly: Pulses, Cycles, Clouds

Nico Muhly 's Pulses, Cycles, Clouds for large mixed Percussion ensemble was written for the 50th anniversary of the Boston University Tanglewood Institute. At its core, it is a group of four marimbas, surrounded by various bells and other mallet instruments; unpitched instruments here are primarily played by an ensemble of amateur percussionists. The piece obsesses over a cycle of eleven chords, introduced slowly through the beginning of the piece. Each chord is announced by a large vertical moment with bells, vibraphone, and a sudden shift in tonality. The four marimbas then relax into a series of soft interlocking patterns, over which an ensemble of glockenspiels and crotales plays a simple rhythm in a complex relationship to the other instruments. Eventually, the pulse disintegrates entirely, into a vision of a night sky; insects, unexpected interruptions - a walk around a quiet landscape. Eventually, the pulse returns, but nocturnally subdued. The piece is meant to echo, in its way, the thrill of community music making, the joy of sharing a pulse, and the various connections both rhythmic and interpersonal I made at BUTI two decades ago. - Nico Muhly

SEK 315.00
1

Nico Muhly: Sentences (Full Score)

Nico Muhly: Sentences (Full Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

SEK 652.00
1

Nico Muhly: Sentences (Vocal Score)

Nico Muhly: Sentences (Vocal Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

SEK 325.00
1

Nico Muhly: Looking Up (Vocal Score)

Nico Muhly: Looking Up (Vocal Score)

Nico Muhly's Looking Up for SATB and Orchestra. Programme note: Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft’s psalter (1621), in which he writes: “The singing of Psalmes (as say the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.” It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling and descanting” — an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental music for worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches. One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers — each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord…” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awe for the divine. The text for the third, and shortest, section is taken from Christopher Smart’s (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clust’ring spheres” to the “nosegay in the vale.” The vision of these stanzas range from the stupendous force of God to the “virtuous root” below our feet. Here, the orchestra creates an atmosphere of natural calmness, over which the bass section begins a long, sinewy tune, and is soon joined by the rest of the voices, always calm and serene.

SEK 167.00
1