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Sadie Harrison: Allah Hu

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

Sadie Harrison: Dast be Dast

Sadie Harrison: Dast be Dast

Dast be Dast ('Hand to hand in friendship') was commissioned by Cuatro Puntos, a pioneering ensemble of chamber musicians dedicated to global cooperation and peace through the writing and performance of new music worldwide. The piece was written specifically for their violist Kevin Bishop, and for Rubab player, Samim Zafar, a student of the extraordinary Afghanistan National Institute for Music (ANIM) in Kabul. Kevin suggested that the piece should represent the two distinct but equal musical cultures of the performers, and as such both players are required to adopt characteristics of each other's traditions, both techniques and languages. Dast be Dast illuminates various aspects of Afghan and Western music-making, with both instruments exploring improvisation alongside notation, controlled imitation with spontaneous elaboration, and Western tonality within Afghan scales. The piece is based on three Afghan songs each heard clearly in the three movements which are played without a break: I Anar Anar (Pomegranates): a fast song where the two instruments imitate each other, gradually becoming more and more elaborate. II Allah Hu (This is God): a meditative movement for solo viola based on a specific interpretation of Allah Hu sung as a lullaby by Veronica Doubleday in 2004. III Watan Jan (Dear Homeland): based on a whirling atan dance in 7/8. Gradually getting faster and faster the players have to keep up with each other's virtuosity. The work was premiered by Samim and Kevin on 23 June 2014 at ANIM, Kabul, Afghanistan.The work is dedicated to them both with admiration.

SEK 134.00
1

Sadie Harrison: Architechtonia

Sadie Harrison: Accidental Flight

M570201709

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

Sadie Harrison: Aster

Sadie Harrison: After Colonna

Philip Venables: Four Metamorphoses After Britten (Clarinet)

Philip Venables: Four Metamorphoses After Britten (Flute)

Philip Venables: Four Metamorphoses After Britten (Bassoon)

Sadie Harrison: Aster (Parts)

Philip Venables: Four Metamorphoses After Britten (Oboe)

Philip Venables: Four Metamorphoses After Britten (Saxophone)

Martin Scheuregger: The Four Last Things

Thomas Simaku: La Leggiadra Luna

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.

SEK 589.00
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

SEK 355.00
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).

SEK 175.00
1

Sadie Harrison: Hällristningsområdet

Sadie Harrison: Hällristningsområdet

Sadie Harrison's Hällristningsområdet  for solo Double Bass. Composed and published 2016. Duration c. 10 minutes The area of Tanumshede is situated on the south western coast of Sweden. Archaeologically, it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels, the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting, agricultural and livestock farming and warring, with many armoured figures carrying swords, axes and shields. Whilst it is possible to interpret most carvings as images of quotidian life, the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods, often surrounded by abstract symbols - crosses, dots and ‘cups’, the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons, vehicles, tools, ships, even hairstyles, the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal, making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman, apparently weeping over a dead warrior from a ship. Her grief, ‘heavy as rocks’ is heard in the opening movement of the piece, echoing through the remaining movements and giving the work its dark, melancholy character. The Woman returns in the final movement as a ghost, her footsteps coming closer and closer as her ‘lover’s’ ship is rebuilt over and over again. Movement III is gentler in tone, a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps juggling the fate of The Grieving Woman. Hällristningsområdet was written at the request of bassist Dan Styffe, resident in Norway but born in Sweden. - Sadie Harrison I Den sörjande kvinnan: The Grieving WomanII Tjugonio bollar: identifiera juggler tid: 29 Balls: identifying the juggler of time II Tjugonio bollar: identifiera juggler tid: 29 Balls: identifying the juggler of time III Älskande rullande solen: Lovers rolling the sun IV Diskursiva relationer mellan skepp och fotsulor: Discursive relationship between ships and footsoles

SEK 148.00
1