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Ed Hughes: Flint (Conductor's Score)

Ed Hughes: Flint (Conductor's Score)

Ed Hughes ' Flint for Orchestra. A3 conductor's score. ' This orchestral piece is in three continuous sections, lasting approximately fifteen minutes. It evokes landscape through music. The particular landscape I have in mind is the Sussex Downs, which is scarred by pockets of white and black (chalk and flint). For me, landscape is peculiarly connected with time - both in the historical sense of a landscape that would have been recognisable to past generations, and in the immediate sense of a walk or journey through it, which might resemble the psychological and cultural experience of a mind 'walk' - through a piece of music. The material consists of lyrical lines which conjure the mesmerising quality of the landscape with its long flowing lines and smooth geometries. Against this, there are jagged and eruptive musical elements which perhaps correspond to the cuts in the landscape caused by such things as quarries and natural erosion. The chalk and the flint are here revealed and exposed to the often brutal elements. The quarries also represent visible human interventions in the landscape (the Downs, as Prof. Matthew Cragoe has remarked, for all their wildness, are invisibly shaped by millennia of human habitation). The work was written between 2011 when the South Downs National Park came into being, and 2014 when the area directly around Sussex University, where I work, (essentially from Shoreham through to Lewes and a little beyond) was recognised as a Biosphere Reserve under UNESCO's Man and the Biosphere programme. ' - Ed Hughes

DKK 288.00
1

Ed Hughes: Flint (Study Score)

Ed Hughes: Flint (Study Score)

Ed Hughes ' Flint for Orchestra. A4 study score. ' This orchestral piece is in three continuous sections, lasting approximately fifteen minutes. It evokes landscape through music. The particular landscape I have in mind is the Sussex Downs, which is scarred by pockets of white and black (chalk and flint). For me, landscape is peculiarly connected with time - both in the historical sense of a landscape that would have been recognisable to past generations, and in the immediate sense of a walk or journey through it, which might resemble the psychological and cultural experience of a mind 'walk' - through a piece of music. The material consists of lyrical lines which conjure the mesmerising quality of the landscape with its long flowing lines and smooth geometries. Against this, there are jagged and eruptive musical elements which perhaps correspond to the cuts in the landscape caused by such things as quarries and natural erosion. The chalk and the flint are here revealed and exposed to the often brutal elements. The quarries also represent visible human interventions in the landscape (the Downs, as Prof. Matthew Cragoe has remarked, for all their wildness, are invisibly shaped by millennia of human habitation). The work was written between 2011 when the South Downs National Park came into being, and 2014 when the area directly around Sussex University, where I work, (essentially from Shoreham through to Lewes and a little beyond) was recognised as a Biosphere Reserve under UNESCO's Man and the Biosphere programme. ' - Ed Hughes

DKK 280.00
1

Sadie Harrison: Accidental Flight

M570201709

Sadie Harrison: Architechtonia

Sadie Harrison: Aster

Sadie Harrison: After Colonna

Sadie Harrison: Two Songs - 'The Colour' And 'All in Green'

Philip Venables: Four Metamorphoses After Britten (Clarinet)

Philip Venables: Four Metamorphoses After Britten (Flute)

Sadie Harrison: Aster (Parts)

Philip Venables: Four Metamorphoses After Britten (Oboe)

Philip Venables: Four Metamorphoses After Britten (Bassoon)

Philip Venables: Four Metamorphoses After Britten (Saxophone)

Thomas Simaku: La Leggiadra Luna

Martin Scheuregger: The Four Last Things

Martin Scheuregger: The Four Last Things

Sadie Harrison: Par-feshani-ye 'Eshq'

Secret Garden

Secret Garden

Secret garden is a composition that is based on a homonymous pencil drawing by the young Armenian artist Arshak Sarkissian. I have been interested in Arshak’s pencil drawings for a while now since attending his solo exhibition at the Pharos Arts Foundation in Nicosia. Apart from the technical realization, I was also interested in the thematic approach. Animal sounds play an important role in my works and animals play a big role in many of Arshak’s drawings. Human and animal hybrids appear often in his work, such as the humanoid creatures with bird heads, and the artist also gives great importance to the dress or hairstyle of his exotic subjects. Looking at some of these drawings, I feel that in some ways, the artist is trying to create an abstract mythology that transcends over time, combining different cultural elements to create new mythical creatures. I have found his art to be in close alignment with the imagery of Primitivism as well as my own interest in mythology, animals, and the music of previous centuries. My strictly traditional formal training together with my contemporary aesthetic outlook, the frequently used process of mixing reality with fiction and traditional techniques and methods with unique thematics, yet always leaving room for interpretation, are some of my artistic qualities that I also see in Arshak’s work. The work is dedicated in utmost gratitude to the magnificent musicians of Klangforum Wien and also as a farewell sonic gesture to Sven Hartberger, the ensemble’s wonderful General Manager of several years.Secret garden is a composition that is based on a homonymous pencil drawing by the young Armenian artist Arshak Sarkissian. I have been interested in Arshak’s pencil drawings for a while now since attending his solo exhibition at the Pharos Arts Foundation in Nicosia. Apart from the technical realization, I was also interested in the thematic approach.Animal sounds play an important role in my works and animals play a big role in many of Arshak’s drawings. Human and animal hybrids appear often in his work, such as the humanoid creatures with bird heads, and the artist also gives great importance to the dress or hairstyle of his exotic subjects. Looking at some of thesedrawings, I feel that in some ways, the artist is trying to create an abstract mythology that transcends over time, combining different cultural elements to create new mythical creatures. I have found his art to be in close alignment with the imagery of Primitivism as well as my own interest in mythology, animals, and the music of previous centuries. My strictly traditional formal training together with my contemporary aesthetic outlook, the frequently used process of mixing reality with fiction and traditional techniques and methods with unique thematics, yet always leaving room for interpretation, are some of my artistic qualities that I also see in Arshak’s work.The work is dedicated in utmost gratitude to the magnificent musicians of Klangforum Wien and also as a farewell sonic gesture to Sven Hartberger, the ensemble’s wonderful General Manager of several years.

DKK 472.00
1

James Weeks: Olympic Frieze (Performing Score)

James Weeks: Olympic Frieze (Performing Score)

James Weeks ' Olympic Frieze for any number of pitched instruments (minimum 12).Composed and published 2014. Variable duration. First performed by participants at CoMA Summer School, High Melton, Doncaster on 21st August 2014. Olympic Frieze is conceived like an Ancient Greek frieze around the entablature of a temple: players should be placed along the walls of the performance space at regular intervals, like figures in a bas-relief. Like visitors to a temple or museum, the audience should be free to wander through the space and out again as desired, and there should be no audible starting or stopping point - ideally the music should be playing before the first audience member enters and continue after the last audience member leaves. Thus the piece functions as part of the decoration of the room, and might be considered a descendant of Satie's musique d'ameublement; the difference being that Olympic Frieze is not intended as background music but to draw the listener's attention. It is also fundamentally audio-visual in nature. The piece explores the fundamental pleasure and beauty of physical exercise that underlie both ancient and modern manifestations of the Olympic games (as well as the Spartan gymnopaedia evoked in Satie's Piano pieces). The music consists of three elements: Exercises, Actions and Disciplines. There are 84 short, repeated Exercise motifs analogous to simple movements of the body, or stretching exercises, in performing which the players adopt stylised (musical) poses akin to those of Greek art. In between Exercises the players perform a number of silent physical Actions devised by themselves. Once stretched and loose each player is ready to attempt his or her own personal Discipline, chosen from a list of 9 possibilities (running, jumping, javelin and trampoline).

DKK 141.00
1

Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes ' A Time For Singing for Clarinet, Cello and Piano. Score and parts. ' My sister, the clarinettist Alison Hughes, is a member of the Camilleri Trio who gave the first performance. The work was conceived in memory of our aunt, Gillian Nicholls. The four movements are: 1. Walk with rainstorm 2. Song 3. Scherzo 4. Until the day break It is a kind of narrative - in one sense an imagined walk through a changing landscape. A very English one, in other words one in which it rains! But sometimes lit up by sunshine. It remembers Gillie Nicholls, who loved walking and loved life. She died from cancer in 2010. I wanted to write a piece that would remember her and her wonderful enthusiasm and sense of humour, as well as forming a more traditional lament. So there are elements of each in this piece. Gillie was also a profoundly spiritual person. When she and John Muddiman married in 2010 they asked me to write a short song for the wedding, 'Rise Up, My Love', using words from 'Song of Solomon'. The new work for the Camilleri Trio, commissioned by Jennifer Hughes in memory of her sister Gillian Nicholls, also refers in the main title, and in the last movement title, to lines from 'Song of Solomon': the time of the singing of birds is come - Song of Solomon 2:12 Until the day break, and the shadows flee away - Song of Solomon 2:17 A Time for Singing was written for the Camilleri Trio - Alison Hughes (clarinet/bass clarinet), Anja Inge (cello), Joanne Camilleri (piano). It was first performed by them at Mansfield Chapel, Mansfield College, Oxford, on 30 October 2011. ' - Ed Hughes

DKK 284.00
1