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Sadie Harrison: Carillons after Couperin L. - Piano Triet Performance Score

Sadie Harrison: Carillons after Couperin L. - Piano Triet Performance Score

Composed in 2013, this 4 minute piece for Piano Triet (one piano six hands) is based on a keyboard work that may have been written by Louis Couperin in the mid 1600s. Baroque ?bell pieces? were generally uniform in style and structure, making composer designations problematic. The main theme is heard at the outset, followed by a short set of variations. Ghosts of other composers drift in and out - Lully, Paganini and Ravel adding a few notes here and there. The players are directed to perform with joyful Baroque energy, gravitas and increasing brilliance. Carillons was written especially for John Pitts and the extraordinary Triet ensemble, and is dedicated to Bill Maddocks. The source is Volume 1 of the Philidor Collection, written in Philidor?s hand (Réserve F 494, pp.71-73: Paris, Bibliotheque national). Carillons was premiered on 22 June 2014 in Colston Hall, Bristol as part of the Severnside Composers Alliance Music on the Edge 2013-14 Series Piano Triets - 3 is the Magic Number 2 .

SEK 161.00
1

Ed Hughes: Sky Blue (A3 Conductor's Score)

Ed Hughes: Sky Blue (A3 Conductor's Score)

Ed Hughes ' Sky Blue for solo Clarinet and Orchestra. A3 Conductor's score. ' This concerto for Clarinet and Orchestra is approximately eight minutes long. It was composed especially for Alison Hughes (clarinettist) and the University of Sussex Symphony Orchestra. Sky Blue is inspired by a painting of the same name made in 1940 by Wassily Kandinsky in which figures appear to float free across a clear blue sky. The painting has been described (by Mona Molarsky, 2009) as 'an ethereal, Miró-like confection with biomorphic squiggles that buzz like glimmering insects in the afternoon sun'. The music is a continuous single movement with moments of harmonic transparency contrasting with sections of greater modal complexity. There are some sections which also feature soloists in the Orchestra, perhaps like the free-floating figures in Kandinsky's painting. ' - Ed Hughes (June 2014)

SEK 247.00
1

Ed Hughes: Sky Blue (A4 Study Score)

Ed Hughes: Sky Blue (A4 Study Score)

Ed Hughes ' Sky Blue for solo Clarinet and Orchestra. A4 study score. ' This concerto for Clarinet and Orchestra is approximately eight minutes long. It was composed especially for Alison Hughes (clarinettist) and the University of Sussex Symphony Orchestra. Sky Blue is inspired by a painting of the same name made in 1940 by Wassily Kandinsky in which figures appear to float free across a clear blue sky. The painting has been described (by Mona Molarsky, 2009) as 'an ethereal, Miró-like confection with biomorphic squiggles that buzz like glimmering insects in the afternoon sun'. The music is a continuous single movement with moments of harmonic transparency contrasting with sections of greater modal complexity. There are some sections which also feature soloists in the orchestra, perhaps like the free-floating figures in Kandinsky's painting. ' - Ed Hughes (June 2014)

SEK 247.00
1

Ed Hughes: Against That Time - Three Songs To Sonnets By Shakespeare

Ed Hughes: Against That Time - Three Songs To Sonnets By Shakespeare

Ed Hughes ' Against That Time - Three Songs To Sonnets By Shakespeare for Mezzo Soprano, Viola and Piano. ' Against That Time...Against My Love is a song cycle comprising of three related settings of Shakespeare sonnets(numbers 49,63 and 126). The sonnets are drawn from a collection of 154 of William Shakespeare's poems on love, beauty and mortality, first published together in 1609. The three sonnets chosen for this sequence meditate particularly on the effect of time upon the appearance of the beloved. In setting these extraordinary lines, I let their rhythms permeate the melodic writing for the singer. The viola and piano act as a kind of echo chamber for the poet's very direct and intimate thoughts. The poems seem both timeless and modern in attitude and perceptions; the music's harmonies, though often tonally clear, are occasionally fractured and in tension, like the many images in thesepoignant texts. ' - Ed Hughes

SEK 217.00
1

Thomas Simaku: a2 (b)

Thomas Simaku: a2 (b)

For Violin and Cello.Published 2008.Dedicated to Peter Sheppard Skaerved and Neil Heyde."This music was composed during my DAAD residency in Berlin in October ? November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'."a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers."This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracing the wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'."In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2."As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice."

SEK 217.00
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

Thomas Simaku: a2 (a)

Thomas Simaku: a2 (a)

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice, 3 May 2008"This music was composed during my DAAD residency in Berlin in October ? November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'."a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers."This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracing the wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'."In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2."As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice."

SEK 217.00
1