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Lord Berners: Three Small Funeral Marches

These three piano pieces, entitled respectively For a Statesman, For a Canary, For a Rich Aunt, are probably the best-known of all Berners' early works, though usually more through their reputation than through the music. They were the first of his published music to be publicly performed - by Casella in March 1917 - and were first published in Italy, as well as being used in a variety of contexts later. Although the pieces are dissonant, they use extensions of a tonal musical language: at the climax of the first piece, the music is suddenly given a key-signature of E flat minor, and a short sequence form the last piece was used by Casella as an illustration in his book on the evolution of the perfect cadence. They use the same kinds of ostinato effects and have a similarly extreme dynamic range.

DKK 158.00

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Magnus Lindberg: Quintet For Clarinet And Strings (Score)

By the age of forty, Finnish composer Magnus Lindberg was one of the busiest concert composers in the world. His music avails itself of all manner of modern innovations, but there is a Neo-Classical orientation in his harmonies and formal design that makes his works appealing to a wide audience. The Quintet for Clarinet and Strings was comissioned by Kuhmo Chamber Music Festival and first performed in this festival in Finland in 1992. In the composer's own words: 'Despite its rather extended duration (almost 20 minutes) the work is in one continuous movement. Sections are based on either a static material composed of different scales giving the music an 'insect like' appereance, or on directional processes forcing the music to gradually change character or even physically pushing the music to extreme registers or speed.' This is the Score.

DKK 309.00

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Magnus Lindberg: Quintet For Clarinet And Strings (Parts)

By the age of forty, Finnish composer Magnus Lindberg was one of the busiest concert composers in the world. His music avails itself of all manner of modern innovations, but there is a Neo-Classical orientation in his harmonies and formal design that makes his works appealing to a wide audience. The Quintet for Clarinet and Strings was comissioned by Kuhmo Chamber Music Festival and first performed in this festival in Finland in 1992. In the composer's own words: 'Despite its rather extended duration (almost 20 minutes) the work is in one continuous movement. Sections are based on either a static material composed of different scales giving the music an 'insect like' appereance, or on directional processes forcing the music to gradually change character or even physically pushing the music to extreme registers or speed.' This edition contains all the Parts.

DKK 488.00

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Kaija Saariaho: Cendres

Score and parts for Saariaho's Cendres, arranged for Alto Flute, Cello and Piano.Quoting Saariaho: While writing Cendres, I was mainly concentrating on the interpretation of particular musical ideas by the three different instruments of the trio, each of which has its unique character and palette of colours. Musical tension is created and regulated by sometimes bringing the instruments as close together as possible in all ways (pitch, rhythm, dynamics, articulation, colour etc.), or, at the other extreme, letting each of them express the music in their most idiomatic fashion. Between these two extremes there is an unlimited number of possible ways to create more or less homogenous musical situations. The consciousness of this variety was the rope on which I was balancing whilst working on the piece.Cendres was commissioned by the Gesellschaft fur Neue Musik Ruhr and Kulturbüro der Stadt Essen for the Wolpe Trio. Duration 10 minutes.

DKK 408.00

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Walk-Sonata

For solo violin. The original music Walk for one dancer and violinist was commissioned by Compagnie Trans. The four pieces that compose this sonata are from the performance piece Laurence Marthouret choreographed for a dancer anda violinist, entitled Walk, and interpreted by Sona Khochafian in 2001. The project originated from a shared conception of the two art forms, an equal collaboration between choreographic and musical composition. Its central ideawas to utilize Laban’s choreographic notation system, which accompanies and parallels the musical notation, allowing for an extreme precision in the playing out of the dance-music relationship. Largely cut and recomposed to arriveat this concert version, Walk-Sonata still maintains its four discreet parts, the four sides of a square of the choreographic composition and is therefore strongly linked to the original choreography. This is discernible not onlyin the formal four movement structure, but also in the music's multiple rhythms, dynamics and phrasing, which are consistently, if not tightly, joined to the dance gesture. Walk-Sonata is dedicated to Sona Khochafian and LaurenceMarthouret.

DKK 269.00

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Geoffrey Burgon: The Wanderer for Clarinet Quintet (Score)

This work was commissioned by Pembroke College, Cambridge to celebrate the 600th anniversary of' their foundation. It was first performed at St. John's Smith Square, London on the 18th of March 1998 by Emma Johnson and the Vanbrugh Quartet.My idea in writing this piece was to depict a journey. The title comes from a poem of that name by W.H. Auden. I have used one or two simple musical ideas and transformed them as the journey progresses through different moods and landscapes. I had come across the Auden poem whilst searching out texts for a vocal work, and it was ideal as a programme for this piece because it is a quite dramatic journey, a mini-saga, full of incident and extreme contrast. The music is similarly dramatic, moving between extremes of tempo and dynamics. The clarinet is treated not so much as a solo instrument, more as a member of the ensemble, its timbre either blending or contrasting with that of the strings. It is in seven sections, played without a break.

DKK 221.00

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John Tavener: Tears Of The Angels (Score)

This work for string ensemble was commissioned by the BT Scottish Ensemble, and was first performed in June 1996 at the Hellenic Centre, London, by the BT Scottish Ensemble with Clio Gould (violin).Quoting Tavener: Tears of the Angels should be played at the extreme breaking point of 'tenderness'. In other words, totally beyond our compassion, and beyond our comprehension. Wrapped in a depth of inner silence of which we have no idea, a state of being, not an emotion, a tender light piercing the agonising darkness of the world. Also, a humility, of which we have no idea, because it is not rooted in a hypocritcal or contrived deprecation of self, but in the blinding vision of God Himself.Since we are 'human' and not angels, the music can only be 'imagined' by us. All th strings are muted throughout, except for the part marked solo violin. The solo violin is 'the chief among the Angels', and the whole piece must sound 'serene' and 'seemless'.Duration c. 17mins.

DKK 158.00

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Magnus Lindberg: Arena For Orchestra

Commissioned by the first Sibelius Conductor's Competition held in Helsinki in May 1995, as an obligatory piece to be rehearsed by all the competitors, Arena was performed in its totality at the annual Avanti! Chamber Orchestra's festival in Porvoo (Finland). Thematic thinking has never been a main feature in Lindberg's music, but here horizontal lines (one would not yet dare to call them melodies) gain some independence, for example in ornamental figures and in the intense cello solo around the middle of the piece. Arena also reveals some clearly new material - Lindberg has talked about Beethoven-like formal thinking, referring to a passage where the sense of movement seems to accelerate to an extreme so that finally one perceives only a motionless surface. Another new element - which was already used to some extent at the warmly hovering ending of Aura - is the almost romantic sound world and the suspension of the harmonies in the final climax, which can make one think of Mahler and Berg, or Lindberg's grand predecessor and compatriot, Sibelius.This is the Score, published by Chester Music; the duration of the pieces is approximately 16 minutes.

DKK 650.00

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Peter Maxwell Davies: Strathclyde Concerto No. 9 Score And Parts

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo, alto flute, cor anglais, clarinet in Eb, bass clarinet in Bb and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.

DKK 340.00

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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

DKK 428.00

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Peter Maxwell Davies: Strathclyde Concerto No. 9 (Miniature Score)

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo and alto flute, cor anglais, Eb and bass clarinets and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.This work for woodwind instruments and string orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performance was given in February 1995 by the Scottish Chamber Orchestra, conducted by the composer.