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Robert Saxton: Little Prelude For John McCabe (Score)

Robert Saxton: Little Prelude For John McCabe (Score)

Robert Saxton 's Little Prelude for John McCabe for treble recorder, clarinet, viola and piano.  Little Prelude for John McCabe was commissioned by John Turner, with funds provided by the Rawsthorne Trust, for an autumn 2016 concert at the Royal Northern College of Music concert to celebrate the life and work of the composer and pianist John McCabe CBE. It is based on the upper-case letters joHn mcCABE (H being B natural in German notation), but transposed. This interval succession acts as a cantus firmus throughout.

SEK 134.00
1

Robert Saxon: Little Prelude For John McCabe (Parts)

Robert Saxon: Little Prelude For John McCabe (Parts)

Robert Saxton 's Little Prelude for John McCabe for treble recorder, clarinet, viola and piano.  Little Prelude for John McCabe was commissioned by John Turner, with funds provided by the Rawsthorne Trust, for an autumn 2016 concert at the Royal Northern College of Music concert to celebrate the life and work of the composer and pianist John McCabe CBE. It is based on the upper-case letters joHn mcCABE (H being B natural in German notation), but transposed. This interval succession acts as a cantus firmus throughout.

SEK 244.00
1

James Weeks: Ave Maris Stella

James Weeks: Ave Maris Stella

Composer's Note: I first made an arrangement of this famous plainchant melody (‘Hail, Star of the Sea’) for a school choir to sing on tour in St Mark’s, Venice; fourteen years later I decided to come back to it as an equally apt choice for Orkney’s great medieval cathedral. A little like Monteverdi’s setting in his 1610 Vespers, the six verses alternate between choral presentations of the plainchant and more soloistic verse sections, with static organ interludes representing the distant clarity of the Star of the Sea, which is the North Star, Polaris.

SEK 62.00
1

Anthony Gilbert: On Beholding A Rainbow

Anthony Gilbert: On Beholding A Rainbow

Anthony Gilbert 's On Beholding A Rainbow for Violin and Orchestra. Score. I : Passacaglia nascondita II : Cantilena - Slow and still III : Variazioni in moto perpetuo - flowing, legato, a little rubato On Beholding A Rainbow was commissioned by the BBC for Lydia Mordkovich and the BBC Philharmonic and written between 1992 and 1997, with some small revisions early in 1998. The work’s title refers to an important Jewish affirmation of trust, and is a private message to its dedicatee, the composer’s friend Ian Goldstone, whose tragic death shocked the work into existence in its final form. The duration is 30 minutes.

SEK 700.00
1

Sadie Harrison: Shadows - Six Portraits Of William Baines

Sadie Harrison: Shadows - Six Portraits Of William Baines

These short pieces are inspired by the extraordinary piano music of the little known Yorkshire composer William Baines. Baines died in 1922 at the age of 23 but left behind a substantial catalogue of over 150 works. Likened to that of Scriabin, Baines’ piano music is sensuous, highly coloured and quite unlike anything being written by his British contemporaries.  Shadows (Volume I)  are reflections on episodes from Baines’ life and diary entries, each piece incorporating a chord, a gesture or a figuration from one of Baines’ solo piano works. It was particularly fitting that the set received its premiere in Yorkshire in the fabulous surroundings of Ripon Cathedral. 

SEK 161.00
1

Sadie Harrison: Four Jazz Portraits

Sadie Harrison: Four Jazz Portraits

Sadie Harrison wrote these jazzy miniatures especially for Helen Burford as a thank you for her performance of ʻ..around and a round..ʼ in 2014. Helen is renowned for her innovative programmes which combine jazz classics with new commissions and works by little known contemporary composers and these pieces celebrate this joyful approach to repertoire. The pieces are titled: I - Pavillion Ferris Stride (Fats Waller) II - Just air and water (Bill Evans) III - Erroneous Monkish (Thelonius Monk) IV - Boogie Woogie Barcarolle (Albert Ammons) Duration: c. 6 minutes Four Jazz Portraits was premiered by Helen at the Brighton Fringe Festival on 10th May 2015 at the Friendʼs Meeting House, Brighton.

SEK 189.00
1

M570201709

M570201709

Little Gifts was expertly composed in 1998 by Sadie Harrison. This piece was first performed at the ICA, London, by Alison Wells and Ian Mitchell, in 1998.Australian born freelance composer and performer Sadie Harrison?s unique fusion of elements from indigenous Lithuanian music and poetry with her own modernist, often abrasive, style have led her to be compared with Bartok, but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey, Peter Sheppard Skaerved, Sergej Okrushko, Alex South, Duncan Honeybourne are among many who have had the privilege of working with Harrison so far. Performances of Harrison's works have been given across the world by Lontano, London Chamber Symphony, Music Projects/ London, Ixion, Okeanos, Bournemouth Sinfonietta, Kokoro and the St. Christopherus Chamber Orchestra, and many others.

SEK 148.00
1

Anthony Gilbert: Elegy

Anthony Gilbert: Elegy

' Even more than Schoenberg’s or Webern’s, Berg’s music made an enormous impact on me during the late 1950s and early 1960s when studying with Alexander Goehr. Work on this little piece was commenced on the 25th anniversary of Berg’s death, and to commemorate the first performance of his Piano Sonata in April 1911 it was first performed in April 1961, by the pianist and composer Madeleine Coates Russell at a our own ‘society for private performances’ in London. Its shape is simple - a stage-by-stage progression from slow and gentle to a dense climax at double speed, then a return to the spirit, if not the material, of the opening. Its public première, the first of any of my compositions, was given by Susan Bradshaw at a Macnaghten Concert in November 1961. It was awarded Morley College’s Fricker Composition Prize. ' - Anthony Gilbert Recorded on Prima Facie PFCD007 'Piano Music' by Richard Casey/Ian Buckle. Duration: 2'30"

SEK 120.00
1

James Weeks: Meadow

James Weeks: Meadow

Meadow  is an installation for any performers – singers, instrumentalists of any type – and requires large numbers (minimum 20). It should be performed without musical score, although the text to be spoken may be printed on a piece of card that can be held in the hand by performers. In addition, each performer will require a coloured tissue paper ‘butterfly’, as detailed in the score. The performers populate a sonic wildflower meadow, constantly varied in detail but unchanging in overall texture. They collectively produce a highly variegated, quiet ‘hum’ – a dense but delicate weave of sound that may rise only a little above the ambient sound of the performance space, revealing its intricacies only to those listening close-up. Meadow  was designed to work as a pop-up performance within a large, multipurpose public space, though a relatively quiet environment is necessary. Performers work independently from each other. The whole group should be quite densely clustered, close together, but one or more paths through the performer ‘meadow’ should be left. The audience should be able to walk among, around and through the performance as much as possible.

SEK 120.00
1

Phillip Neil Martin: Human Drum

Phillip Neil Martin: Human Drum

Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook, ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices, human beatbox, electronics, fashion and space. The final track bares very little resemblance to the original recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!), therefore coming full circle! There are now two versions of Human Drum , the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival, Sir Jack Lyons Concert Hall, University of York.

SEK 69.00
1

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

SEK 370.00
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

SEK 360.00
1