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Bernard Lewkovitch: Twelve Motets Of The Spanish Golden Age

Bernard Lewkovitch: Twelve Motets Of The Spanish Golden Age

Bernhard Lewkovitch (b. 1927) is a Danish composer, born in Copenhagen to Ukrainian parents. Brought up in the Catholic Church, he studied at the Royal Danish Academy of Music, but the vast majority of his choral works have been intended for liturgical use, making him somewhat of an outsider to the contemporary Danish classical music world. Twelve Motets from the Spanish Golden Age were collected, edited and published in 1971, towards the end of the decade that was the only period Lewkovitch spent working outside the church. They are a testament to his commitment to rediscover and popularise historical compositions from the continental renaissance era, even while he was experimenting with modern techniques in his own compositions.

DKK 111.00
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Judith Weir: I Give You The End Of A Golden String (Study Score)

Judith Weir: I Give You The End Of A Golden String (Study Score)

I Give You The End Of A Golden String was commissioned in 2013, by the Royal Philharmonic Society/Britten-Pears Foundation, to celebrate the centenary of the birth of Benjamin Brittenand the bicentenary of the foundation of the Royal Philharmonic Society. The piece was first performed on 8th June 2013 by the Britten Sinfonia conducted by Ryan Wigglesworth. 'My aim when I began this piece was to create a long length of string music out of a single strand of melody.While experimenting at the beginning, shaping and extending a melody in many possible directions, I cameacross William Blake’s lines… I give you the end of a golden string; Only wind it into a ball, It will lead you in at Heaven’s gate, Built in Jerusalem’s wall …and this became my working method, winding a single tune around itself so that it gradually formed itselfinto a much richer, more complex texture. The process happens three times, producing the equivalent of acontinuous three-movement concerto.The ‘first movement’ is engendered by two solo violas (the melody at the beginning already entwined witha slightly alternative version of itself). The ‘slow movement’ (a more extended, more decorated developmentof the opening tune) is introduced by a solo cello (soon winding itself into a quartet of celli). The fast ‘finale’,led by two solo violins, focuses on decorations within the melody, rolling out ribbons of (Britten-like?) thirds.' - Judith Weir Suggested minimum strings: 8.6.4.4.2 players

DKK 264.00
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John Tavener: Song For Athene (Alleluia. May Flights Of Angels Sing Thee To Thy Rest)

John Tavener: Song For Athene (Alleluia. May Flights Of Angels Sing Thee To Thy Rest)

Song For Athene, for unaccompanied SATB choir, was commissioned by the BBC and written in memory of Athene Hariades, who died in March 1993. The text is taken from Shakespeare's Hamlet and the Orthodox Funeral Service. The work was first performed at the funeral of Diana, Princess of Wales in September 1997 under the title Alleluia. May Flights of Angels Sing Thee to Thy Rest. Martin Neary conducted the Westminster Abbey Choir.

DKK 87.00
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Peter Maxwell Davies: Caroline Mathilde Act I (Concert Suite) (Miniature Score)

Peter Maxwell Davies: Caroline Mathilde Act I (Concert Suite) (Miniature Score)

The story centres on the English princess Caroline Mathilde (1751-1775), sister of George III, who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King, Christian VII. The ballet portrays her unhappy marriage, the King's growing madness and her fatal love-affair with Struensee, the King's influential physician, which leads to their arrest, his execution and her exile, at the age of 20, separated from her two young children. In keeping with the period, and perhaps also with the traditions of Romantic ballet, the music is relatively simple in harmony and form, and most of the action is conveyed in set-piece dances. The suite, which consists essentially of the second half of Act I, begins with one of these, a bristling interplay of wind and string ensembles in D major, portraying in the ballet a curious nuptial game with the king and princess on movable pedestals. The slow music that follows has to do with the king's healing by Dr. Struensee and the new queen's unquiet reverie (oboe and cor anglais solos). Then the suite, like the act, is capped by a pair of pas-de-deux, the first savage and bizarre for the royal couple, the second rich and passionate for the queen and the miracle-working doctor.Score (miniature). Duration c. 25mins.

DKK 345.00
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Cinema Ludovico Einaudi - Piano

Cinema Ludovico Einaudi - Piano

Find Ludovico Einaudi's most famous compositions featured in films with a new piano collection complementing his album from Decca. Classical music's most-streamed artist, Einaudi, studied at the Conservatory in Milan and wrote in classical forms before exploring dance, multimedia, and piano. Cinema contains Einaudi's most remarkable works from film and television, including tracks from Oscar, BAFTA and Golden Globe winners Nomadland and The Father. With 17 tracks including music from The Water Diviner, This Is England, I'm Still Here, Insidious, and Doctor Foster, the album features two previously unreleased recordings – the title track from Russell Crowe's 2014 movie The Water Diviner.

DKK 138.00
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Peter Maxwell Davies: Two Dances From Caroline Mathilde

Peter Maxwell Davies: Two Dances From Caroline Mathilde

Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde.A new instrumentation restores this linked pair of dances from Davies's second full-length ballet, Caroline Mathilde based on the story of the eighteenth-century British princess sent in marriage to Denmark, to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance, a gigue at the start of the second - are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role, but it comes forward alone in the second movement, which ends with bravura from both instruments.These two dances were first performed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce.Score and flute part. Duration c. 5mins.Harp part edited by Elune Pierce.

DKK 159.00
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Nicholas Britell: Moonlight - Selections For Violin & Piano

Nicholas Britell: Moonlight - Selections For Violin & Piano

Written and directed by Barry Jenkins, the 2016 film Moonlight received universal acclaim upon its release with critics praising the acting, direction, screenplay, cinematography, subject matter and score. The film was awarded Best Motion Picture - Drama at the 74th Golden Globes and has received eight Oscar nominations. This exclusive folio features selections from Nicholas Britell 's score, arranged for Violin and Piano by the composer. This book features three themes from the film - Little's Theme, The Middle Of The World and The Culmination . It also includes a unique preface and full-page images from the film. Moonlight - Selections For Violin & Piano includes the Piano score and a pull-out Violin part. Watch the trailer for Moonlight :  

DKK 192.00
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Joby Talbot: The Wishing Tree (SSAATTBB Unaccompanied)

Joby Talbot: The Wishing Tree (SSAATTBB Unaccompanied)

The Wishing Tree was composed by prominent composer Joby Talbot in 2002 and was first performed in that year by the BBC and King's Singers. With text by Kathleen Jamie, this particular arrangement for Mixed Choir was made by the composer at the request of Hilary Summers. Joby Talbot  has composed prolifically in a great variety of styles, with perhaps his most famous works being for Film and Television. He has composed the score for the series 'The League of Gentlemen', as well as the films 'The Hitchhiker's Guide to the Galaxy', 'Son of Rambow' and 'Penelope'. As an arranger, he has worked with a large number of modern pop musicians. In 2002, he composer this, The Wishing Tree  for part of the Queen's Golden Jubilee, to great positive acclaim. 

DKK 95.00
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John Tavener: Eternity's Sunrise

John Tavener: Eternity's Sunrise

This work for soprano and baroque chamber orchestra, using text by William Blake, was commissioned by The Academy of Ancient Music on the occasion of its 25th anniversary. The piece is dedicated to the memory of Diana, Princess of Wales.Quoting Tavener:The concept of solo soprano (representing earth) at ground level, handbells (representing the angels) at an intermediate position, and the main baroque ensemble at a high level (representing heaven) fitted exactly with the Blake text which I had decided to set. When seen as things truly are, the earth is a mirror of the Eternal World, and when seen correctly, it is possible in this world to live in Eternity's sunrise. God does not exist in the world. And yet at the same time He is reflected in it, giving it form and structure. The music should be played with quiet joy, as a day of sunshine and calm, full of gentleness and radiance.Duration c. 15mins.

DKK 159.00
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Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score)

Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score)

The story centres on the English princess Caroline Mathilde (1751-1775), sister of George III, who at the age of 15 was sent to Denmark to marry the 17-year-old eccentric and schizophrenic Danish King, Christian VII. The ballet portrays her unhappy marriage, the King's growing madness and her fatal love-affair with Struensee, the King's influential physician, which leads to their arrest, his execution and her exile, at the age of 20, separated from her two young children.This suite begins with the act's opening number: a boisterous, stamping dance to which the people rudely mock Queen Caroline Mathilde and her lover Struensee. After this comes a dark Adagio, The Conspiracy, in which the theme passes like persuasion from mouth to mouth, its variations suggesting the different attitudes of the conspirators, firmly controlled by the brass-driven gestures of the Queen Dowager. The conspiracy then works itself out at a court masked ball, from which the suite includes two dances: a gavotte, and a slow, lubricious passacaglia that is a pas de deux for Caroline Mathilde and Struensee. The Arrest comes with a gathering rush of music that envelops the King, the Queen and Struensee, leading to a vociferous climax in which they are held apart. In The Execution, slow white music for wordless female voices, harp and low strings is interrupted by pathetic, alienated outbursts from the King. The suite ends, as does the ballet, with a quiet adagio lament for clarinets and alto flute as the Queen goes into exile.Score. Duration c. 33mins.

DKK 312.00
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Eric Whitacre: Three Flower Songs (SATB)

Eric Whitacre: Three Flower Songs (SATB)

Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir, includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song, really. All of the musical suggestions come from a careful study of the poem, a quiet, passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction, and this mood must prevail in the performance: shy and sullen, her passion surging to the surface only to sink back into the silence that is herself.Go, Lovely RoseThe piece is structured around the cyclical life of a rose, and is connection throughout by the opening 'rose motif', a seed that begins on the tonic and grows in all directions before it blossoms, dies and grows again. Each season is represented: spring begins the piece, summer appears at bar 13, autumn at bar 26, winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfect Fibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approached with a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas, its success is guaranteed. Water: At bar 30, this ostinato should be fluid and gentle, only interrupted at bar 32 as the butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars, another patient, sensuous transformation back to fire. Fire: Everything else.

DKK 81.00
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