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Saint Nicolas Op.42 Choral Score

Cantata for tenor solo, chorus (SATB), semi-chorus (SA), four solo boys, string orchestra, piano duet, percussion and organ Scoring: Piano duet - organ - strings - percussion (Timpani/side drum, bass drum, tenor drum, cymbal,triangle, gong, whip, tambourine) Text: Eric Crozier Publisher: Boosey & Hawkes Difficulty level: 3 Saint Nicolas (note the name has no 'H' in it!) was written for the centenary of Lancing College in Sussex, the independentsecondary boarding school on the south coast of England which Peter Pears had attended in his teens. It has a vast chapel intended by its founder, Revd Nathaniel Woodard, as the cathedral for all the schools of his extensivefoundation known collectively as 'Woodard' schools. St. Nicolas is famous for many legendary miracles and for being the original 'Santa Claus'. Crozier's libretto is designed to tell the story of his life, to recount some of hismost celebrated acts and to give the audience/congregation the opportunity of joining in two beautiful hymns at key moments: 'All people that on earth do dwell' and 'God moves in a mysterious way his wonders to perform'. Thenarration is all done by the choir, though the tenor sings first-person narratives as well in his role as the mature Nicolas. The young Nicolas is sung by a boy in movement II. There is a dramatic moment at the end of thismovement when the boy's voice does a tumble and the tenor proclaims in the voice of Nicolas as a young man: 'God be glorified'. The third movement is an accompanied recitative in which the soloist sings of Nicolas devoting himselfto God through the agonies and torment of the many distractions and temptations of life. His faith wins through and he sings a final touching phrase: 'and Love was satisfied'. The sea whips up a storm in the next movement: 'Hejourneys to Palestine'. It threatens to overturn the ship and drown everyone on board. There is wailing from the sopranos and altos of the semi-chorus and agonised calls from the tenors and basses to 'man the pumps'. Finally,Nicolas begs God to let the storm cease and offers thanks for their safe delivery. Britten creates a palpable sense of relief in the final pages.

Suite for Saint-Nicolas

Transitions (version for Viola)

Originally scored for solo cello, this version for solo viola was written in 2019. The theme of the work is ‘man & machine’ as commissioned by the cellist Michael Nicolas. Originally scored for solo cello, this version for solo viola was written in 2019. The theme of the work is ‘man & machine’ as commissioned by the cellist Michael Nicolas. Originally scored for solo cello, this version for solo viola was written in 2019. The theme of the work is ‘man & machine’ as commissioned by the cellist Michael Nicolas.

Zwei Pastoral-Sonaten - Chédeville, Nicolas

for 2 Fluten (Violin, Oboes) Performance score 2Fl/V/Ob Hæftet udgave C minor, C major

Nicolas Bacri: Prélude et Fugue (Piano solo)

Nicolas Bacri: Lyric Interlude - Pour Cor Anglais (Ou Flûte, Ou Clarinette, Ou Alto) Et Piano

Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri ’s Lyric Interlude : ‘A Study in Pastoral Style’. When, in 2008, the composer received the commission for a piece with English Horn from Cecilia Benner, patron of the Chamber Music Society of Detroit, he immediately thought of the duo between this instrument and the Oboe that Berlioz, in the Symphonie fantastique , placed at the beginning of the ‘Scène aux champs’, making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 in its original version for English Horn, Violin and Cello, the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism, illustrated by the music of Ralph Vaughan Williams (1872-1958), the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint, the undulating lament of the beginning, rhythmically supple, evokes the waving wheat, as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion, briefly interrupted by a scherzo in 6/8, again pours out, making the work evolve towards a slow, ecstatic atmosphere, close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic, postcard clichés and servile imitation, this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute, Clarinet or Viola), Violin and Cello, Op.110a (AL 30 751)

Fugue And Chorale On Yankee Doodle - Full Score

Virgil Thomson 's Fugue And Chorale On Yankee Doodle from 'Tuesday in November', a film by John Houseman and Nicolas Ray. Transcribed by Frank Erickson for Concert Band. Duration: approx. 4 minutes.

Louis Nicolas Clérambault: Réçit de Nazard (Flute & Organ)

from 'Suite du 2ème Ton' (for flute and organ)

Sérénade Mélancolique

Bacri's Op.99, composed in 2004, for Michel d'Arcangues and Peter Hamilton and dedicated to Gaelle Solal and Nicolas Lestoquoy. This work was selected for the Concours de Guitare de Fontenay sous Bois 2019

Georges Migot: Le Tombeau de Nicolas de Grigny (Organ)

Pièce sur un Air auvergnat (for organ or piano)

Louis Nicolas Clérambault: Plein Jeu (Maîtres classiques No.10) (Organ)

Etienne Nicolas Méhul: La Chasse (Classiques No.336) (Violin & Piano)

Etienne Nicolas Méhul: Ouverture de 'Le Trésor supposé' (PH277) (Orchestra)

Hymne Sacré H44C : Arrangé Pour Sextour À Vents Par Nicolas Prost 2016

Louis Nicolas Clérambault: Basse et Dessus de Trompette (Maîtres classiques No.9) (Organ)

Nicolas de Grigny: Réçit de Tierce en Taille (Maîtres classiques No.19) (Organ)

Lemmens: Triumphal March for Organ

Lemmen’s Fanfare in D is frequently performed and recorded. This work, the Triumphal March, also in D, features dramatic dynamic changes and thrilling passages of fingerwork, making it an effective piece.Jaak Nikolaas [Jacques Nicolas] Lemmens was a Belgian Organist and composer of the 19th century. He was widely acknowledged to be the best Organist of his time, with particularly beautiful legato and pedal technique, some of which can be discerned from his compositions for his work Organ School, from which this march has been extracted. He was instrumental in bringing the works of Bach to France and Belgium, and was influential as an educator.

Jeux d'eau for Piano

It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword,atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud. It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop. Nicolas Southon has re-evaluated the work’s many sources, including memoirs from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Hélène Jourdan-Morhange. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off the new edition are an informative Foreword, atrilingual glossary as well as fingering and notes on performance by Ravel specialist Alexandre Tharaud.

Lemmens: Fanfare for Organ

Lemmens’s Fanfare in D is frequently performed and recorded. The thrilling dynamic contrasts mark it as a piece of his era, while the continuous semiquavers in the right hand owe much to the work of Lemmens’s musical hero, J S Bach.Jaak Nikolaas [Jacques Nicolas] Lemmens was a Belgian Organist and composer of the 19th century. He was widely acknowledged to be the best Organist of his time, with particularly beautiful legato and pedal technique, some of which can be discerned from his compositions for his work Organ School, where this fanfare first appeared. He was instrumental in bringing the works of Bach to France and Belgium, and was influential as an educator.

Missa in illo tempore

Monteverdi's Missa in illo tempore for six voices, together with the Vespers form a collection of church music which was printed in Venice in 1610 and dedicated to Pope Paul V. During the period of transition from the older [16th century] polyphonic style to the new concertante style Monteverdi displayed his compositional abilities in this collection using both means of expression. Whereas the Vespers contained, for their time, the most modern concerti, contemporaneously the Missa employed the already obsolete genre of parody mass based on themes from a motet by Nicolas Gombert; it was composed consciously in the stile antico. The vocal parts are accompanied by a basso continuotreated as a basso seguente.

Anna Thorvaldsdottir: Transitions

The theme of this work is ‘man & machine’, as commissioned by Michael Nicolas. The theme is represented in that the Cellist becomes both in the piece – man & machine – where man indicates performing expressively with emotion, and a musical approach to the music, and machine indicates more precise rhythmic and technical accuracy, a somewhat stricter approach to the music. These two approaches gradually transition from one to another throughout the work. Anna Thorvaldsdottir  frequently works with large sonic structures that tend to reveal the presence of a vast variety of sustained sound materials, reflecting her sense of imaginative listening to landscapes and nature. Her music tends to portray a flowing world of sounds with an enigmatic lyrical atmosphere.

The Five Chords That Shook My World

Juhani Nuorvala (b. 1961) wrote The Five Chords That Shook My World (2020) for pianist Nicolas Horvath's Hommage Glass project and it is dedicated to him. It's a fantasy meditation on the Train/Spaceship chords in Einstein, that repeating five-chord progression (Fm - Db - A - B7 - E) about which the composer has said that there's something strange, because it never fails to lift the audience to its feet. The duration of the piece is c. 6'30'', and it was premiered by Emil Holmström at RUSK festival (Pietarsaari, Finland) 20th November 2020. A notable variety of influences - microtonality, American minimalism, New Romanticism, popular music, techno - has been regarded as a specialfeature of Nuorvala's idiom. Despite this he is not a collage artist; instead he has blended various ingredients to create a mode of expression entirely his own. Nuorvala's works are often marked with frenzied rhythmic drive. He makes music using elements and materials that both the mind and the body respond to. He finds these elements not only in old or new classical music but in various forms of urban popular music, such as the electronic music of modern dance clubs.

Kopf Kino Kantaten

Les `Kopf Kino Kantaten` (cantates de cinéma dans la tête) sont constituées de 24 pièces pour piano d'une durée d'une minute une minute trente. Dans la tradition de la musique de salon, ces pièces naviguent entre classique etjazz.Elles marient le connu l'inconnu, jouent avec toute l’étendue et la sonorité du piano. Avec des rythmes très variés, des sons et des mélodies plein de coloris, les `Kopf Kino Kantaten` sont censées emmener en voyagecelles et ceux qui les écoutent. Elles leur feront vivre des scènes imaginaires, tout en musique, qui expriment des moments de solitude, d'attente, de repos et de pauses.Les `Kopf Kino Kantaten` doivent leur origine untravail intense de l'artiste sur l'histoire du piano. Connotations, allusions ou ressemblances avec d'autres musiques pianistiques ne sont ni vraiment recherchées, ni explicitement évitées par le compositeur. Les `Kopf KinoKantaten` sont l pour ressusciter l'histoire du piano.Cette édition comprend une sélection de 7 œuvres.Les `Kopf Kino Kantation` ont été enregistrés sur Compact Disc et Vinyle chez Metaracords (meta059 & meta 060).Le coffret Compact Disc est double, puisqu’il propose 2 versions des enregistrements : la première est une exécution des œuvres sur un piano queue de concert, la seconde, sur un vieux piano droit. Le Vinyle comporte juste cettedeuxième version.A chaque coffret est jointe une photo de Nicolas Vermont Petit-Outhenin, censée déclencher des associations, susciter un cinéma immaginaire. Un travail ‘artistes-vidéo’ effectué sur certaines pièces sontproposées cette adresse : www.kopfkinokantaten.com.

Cantata Misericordium op. 69

for tenor and baritone solos, small chorus and string quartet, string orchestra, piano, harp and timpani. Text: In Latin by Patrick Wilkinson Publisher: Boosey & Hawkes Difficulty level: 4 (chorus parts) This work is a different as chalk from cheese from the Cantata academica. Here is a searingly beautiful work which presses all Britten's sympathetic buttons. It was composed for the centenary of the Red Cross and first performed in Geneva on 1 September 1963 conducted by Ernest Ansermet. Britten worked with his librettist, Patrick Wilkinson, to create a dramatic scena around the parable of the Good Samaritan. How appropriate this was for the organisation whose work it was intended to celebrate. Wilkinson set it in Latin, giving the Cantata a timeless sense of the universality of the message the parable conveys. Britten's scoring further emphasises the intimacy of the work which has echoes of Saint Nicolas and the Ceremony of Carols in its use of the harp and piano. The separate string quartet, however, is the truly personal touch giving that powerful sense of looking in on a private conversation. The quartet begins the work with a contrapuntal figure which returns at key moments as a refrain or as a joining passage marking the arrival of a new potential source of help to the wounded man, and again at the end. This is a work which barely raises its voice. The emphasis is on compassion and not on the violence done to the traveller who was so badly injured and so callously ignored by the priest and the Levite who passed by. This Cantata immediately followed the composition of the War Requiem, and Owen's pity and waste of war is at the heart of this new work which could have painted a very different picture of righteous indignation or the fighting which would leave the traveller broken by the wayside. The end of the work also has strong resonance with the War Requiem when the Samaritan has taken the traveller to recover in a local inn and says: 'sleep now, my friend, sleep: forget your injuries.' Britten has achieved a remarkable effect in this work. It leaves an indelible impression on its listeners and, like all stories designed to demonstrate a moral, sends one away intent on being a better person. The choral parts of the Cantata misericordium are quite challenging, though not in the league of Sacred and Profane or A Boy was Born. What is essential in performing this work ,however, is that the choral parts should be so well sung that the gentle nature of the work is not disturbed by obviously problematic passages for choir. The whole concentration should be on the message, as Britten intended. It is the moral of the tale and not its means of communication which is paramount. Duration: 20 minutes Paul Spicer, Lichfield, 2011