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Yankele (Study Score)

Yankele (Study Score)

Yankele is a folksong-like Yiddish song by the Polish-Jewish songwriter Mordechai Gebirtig, who was killed in the Kraków ghetto during the Second World War in 1942. Written for the University of Birmingham’s CrossCurrents Festival as part of CrossCurrents, a new set of eleven specially commissioned folk-inspired songs. First performance: Lucy Schaufer, Birmingham Contemporary Music Group, conducted by Richard Baker Elgar Concert Hall, University of Birmingham, 20th February 2016Yankele is a folksong-like Yiddish song by the Polish-Jewish songwriter Mordechai Gebirtig, who was killed in the Kraków ghetto during the Second World War in 1942. Written for the University of Birmingham’s CrossCurrents Festival as part of CrossCurrents, a new set of eleven specially commissioned folk-inspired songs. First performance: Lucy Schaufer, Birmingham Contemporary Music Group, conducted by Richard Baker Elgar Concert Hall, University of Birmingham, 20th February 2016.

SEK 186.00
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Philip Cashian: Caprichos

Philip Cashian: Caprichos

Caprichos was commissioned by Bromsgrove Concerts for CHROMA who gave the first performance at the Guesten Hall, Bromsgrove, 9 April, 2003. Caprichos takes it's name from Goya's Los Caprichos, a set of eighty aquatints which depict the bizarre, mischievous and often grotesque world of 18th century Spain. The music isn't a literal depiction of Goya's work, but takes it as a starting point for a set of musical portraits that explore the possibilities of clarinet, piano, violin and cello.

SEK 583.00
1

Philip Cashian: Talvi

Philip Cashian: Talvi

Talvi was commissioned by Tom Kerstens, who gave the first performance at the 1998 International Guitar Festival in Bath. "Talvi, which is the Finnish word for Winter, was the name of a light sculpture exhibition that I saw at the Barbican Centre whilst writing the piece. The fluid and sometimes blurred images of some of the installations and the constant state of flux within the space as a whole seemed to perfectly mirror the type of musical material I was writing for Tom's solo guitar piece."  - Philip Cashian Duration : 7 minutes

SEK 167.00
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Philip Cashian: A Web Of Shadows

Philip Cashian: A Web Of Shadows

Philip Cashian's A Web Of Shadows for String Quartet. A Web of Shadows was commissioned by Tom Kerstens, who gave the first performance with the Castalian String Quartet at the Purcell Room on 4 June 2011. Like a lot of my music the piece is made up of a series of short musical ideas that sit side by side or are stitched together. The problem of balance between the solo guitar and string quartet was a concern whilst writing the piece and led to music that has a delicate, almost filigree, quality. The string quartet play with practise mutes throughout as I wanted to try and give the impression that they were performing behind a veil. Composed in 2011. Duration: 11 minutes

SEK 533.00
1

Gary Carpenter: Blue

Gary Carpenter: Blue

Gary Carpenter's Blue for Solo Flute. Programme Note: The last unaccompanied monophonic instrumental piece I wrote was for Tuba and that was in my student days. I have avoided the medium ever since. Holly Melia's request for a solo piece consequently raised a number of issues for me: mainly fear and apprehension and how and where to start. Debussy's wonderful but intimidating essay in this genre didn't help. The unexpected impetus for starting Blue though was Holly's asking my lighting preference for the first performance. 'Blue' was my instinctive response and the more I thought about the colour blue, the more it seemed to me that this might be where the piece was headed. The 'blues' it is not however. But it does glance at: the sea, the sky, Yves Klein, sadness, Fontana's Copia, Vishuddha, Alice, Picasso and more. Blue lasts approximately 3'17". A lighting plan is indicated in the score but is entirely optional. Blue is written to be performed from memory.

SEK 128.00
1

J.S. Bach: Cello Suites 1-4 (Guitar)

J.S. Bach: Cello Suites 1-4 (Guitar)

For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here, for the first time, are the first four in the easiest and most resonant guitar keys. Suites I–IV must be transposed to work on the guitar, whereas Suite V is always played in A minor, in Bach’s own lute version, and the equally demanding Suite VI can only be played in its original key of D. By adding as little as possible, these arrangements preserve the integrity of the originals, in which melody, bass and harmony are woven effortlessly into a single fabric. They also, crucially, offer the guitarist Bach at a lower level of difficulty than his music for lute or unaccompanied violin. Another unique feature is the inclusion of optional ‘improvised’ divisions – suggestions for the additional ornamentation of passages to reflect typical 18th-century performance practice. This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8). “This publication beats the others hands down; no contest. I can’t see me needing any other edition of these four suites. They are that good. Buy with confidence.” Classical Guitar

SEK 360.00
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