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Judith Weir: Sinfonia Comatica (For Flexible Ensemble)

Judith Weir: Sinfonia Comatica (For Flexible Ensemble)

Sinfonia Comatica is a composition by Judith Weir which is scored for flexible ensemble, meaning music directors are able to make use of a variety of instruments, tailoring the parts to their chosen instrumentation. A truly innovative idea, this piece lasts around 1 and a half minutes and includes the Score and Parts. Originally commissioned by Contemporary Music for All (CoMA), it was also premiered by them on the 25th of October 2014 at St John's Smith Square in London. As for the scoring, a chart is included which detailed the range of each part and suggested instruments, but the list can be expanded creatively to produce innovative and unique performances of this work.

SEK 315.00
1

Geoffrey Burgon: The Wanderer for Clarinet Quintet (Score)

Geoffrey Burgon: The Wanderer for Clarinet Quintet (Score)

This work was commissioned by Pembroke College, Cambridge to celebrate the 600th anniversary of' their foundation. It was first performed at St. John's Smith Square, London on the 18th of March 1998 by Emma Johnson and the Vanbrugh Quartet.My idea in writing this piece was to depict a journey. The title comes from a poem of that name by W.H. Auden. I have used one or two simple musical ideas and transformed them as the journey progresses through different moods and landscapes. I had come across the Auden poem whilst searching out texts for a vocal work, and it was ideal as a programme for this piece because it is a quite dramatic journey, a mini-saga, full of incident and extreme contrast. The music is similarly dramatic, moving between extremes of tempo and dynamics. The clarinet is treated not so much as a solo instrument, more as a member of the ensemble, its timbre either blending or contrasting with that of the strings. It is in seven sections, played without a break.

SEK 276.00
1

Walk-Sonata

Walk-Sonata

For solo violin. The original music Walk for one dancer and violinist was commissioned by Compagnie Trans. The four pieces that compose this sonata are from the performance piece Laurence Marthouret choreographed for a dancer anda violinist, entitled Walk, and interpreted by Sona Khochafian in 2001. The project originated from a shared conception of the two art forms, an equal collaboration between choreographic and musical composition. Its central ideawas to utilize Laban’s choreographic notation system, which accompanies and parallels the musical notation, allowing for an extreme precision in the playing out of the dance-music relationship. Largely cut and recomposed to arriveat this concert version, Walk-Sonata still maintains its four discreet parts, the four sides of a square of the choreographic composition and is therefore strongly linked to the original choreography. This is discernible not onlyin the formal four movement structure, but also in the music's multiple rhythms, dynamics and phrasing, which are consistently, if not tightly, joined to the dance gesture. Walk-Sonata is dedicated to Sona Khochafian and LaurenceMarthouret.

SEK 335.00
1

Peter Maxwell Davies: Sinfonietta Accademica

Peter Maxwell Davies: Sinfonietta Accademica

This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins.This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous ? crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm.The plainsongs ?Dies Irae? and ?Victimae Paschali Laudes? are used throughout the work ? the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation ? the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological ?magic square? patterns.The orchestra consists of double woodwind, two horns, two trumpets and strings.

SEK 266.00
1

John Tavener: The Fool (Chorus Part)

John Tavener: The Fool (Chorus Part)

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint, the highest of all, who discards everything for Christ's sake. He discards all convention, all decency, all wealth, actual and spiritual, and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he "appears" to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool, however, embraces all of this, and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy, false piety, and corruption. He is a figure much needed in our times!!! The way I have tried to tackle this extraordinary subject is to show him in seven stages from an obscene, huge, fat traditional clown who is drunk, fornicating etc., through a stumbling, frail agonized figure, to a sallow-faced, gaunt business man in a formal suit, staring at an empty glass. Having first revered him, then mocked him, the "people", while they get drunk and jabber away at "Christmas", and at the Feast of Feasts 'Easter', are no longer aware of him. But the audience sees him - a tiny, ragged scrap of mortality lying in a corner and faintly, so faintly the voice of the Fool, the true Fool for Christ's sake sings above the ribald crowd. "He has given His life". The Gogmagogs are the 'people', 'priests', 'singers' etc. and one male singer who can "create" or "uncreate" this vast role (singing and acting, miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition, 2000. Chorus part only.

SEK 87.00
1

Benjamin Britten: Two Portraits for Strings (1930)

Benjamin Britten: Two Portraits for Strings (1930)

Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930, during the summer holidays preceding the sixteen-year-old composer's first term at the Royal College of Music, in London.Both are musical depictions of character, the first portraying Britten's school friend, David Layton, and the second, introducing a solo Viola (Britten's own string instrument), a self-portrait of the composer. According to Britten's diary, he planned to compose a third portrait, again for strings, that was to depict another school friend, Peter Floyd, but this movement was not written. However, David Layton was to be portrayed again, though very differently, in Britten's later quartet suite, Alla Quartetto Serioso (1933), itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score, in the Britten-Pears Library at Aldeburgh, although hastily written, is very detailed, ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficult to decipher, or, due to the highly chromatic nature of the music, difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes, which have been silently corrected in this editon. A list of those places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library, Aldeburgh.As with virtually all orchestral music from his youth, Britten did not hear either 'Portrait' performed. The first performance of Two Portraits was given by the Northern Sinfonia, conducted by Martyn Brabbins, broadcast by BBC Radio 3 on 5th December 1995, as part of a series entitled 'Britten's Apprenticeship'. The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek, at the Konzerthaus, Schubert-Saal, Vienna, on 10th February 1996. The first concert performance of Portrait No.2 was given by Sinfonia 21, conducted by Martyn Brabbins, on 8th February 1996 at St John's, Smith Square, London. Martin Altrim was the Viola soloist.

SEK 276.00
1

Francis Poulenc: Sonata For Clarinet And Piano (Audio Edition)

Francis Poulenc: Sonata For Clarinet And Piano (Audio Edition)

This is an updated edition of Francis Poulenc 's 1962 work Sonata For Clarinet And Piano , edited by Millan Sachania . Featuring the full score and separate Clarinet part, this exclusive edition also includes a download card, giving you instant online access to demonstration and accompaniment tracks. Originally completed in 1962, Poulenc  tragically passed away before it could be definitively engraved, leaving behind a work with a number of ambiguous notational marks that resulted in an incomplete first edition, published just a year later. A number of revisions have taken place, but this, expertly edited by Millan Sachania , aims to provide a playable, legible, precise and authoritative score that reflect closest Poulenc 's intentions. This new edition includes accidentals that may have been intended by Poulenc  within square brackets, as well as cautionary accidentals and the deletion of redundant accidentals. Other amendments like the redistribution of notes between the Piano staves, extending slurs so as to incorporate second or final tied notes, in contrast to the previous edition. At all points, Sachania has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection of what Poulenc himself may have intended. What makes this edition of Sonata For Clarinet And Piano really special is the unique download card that provides exclusive online access to demonstration and accompaniment audio tracks. Professionally-recorded by renowned clarinettist Joy Farrall and pianist Huw Watkins, the demonstration track allows you to hear exactly how the piece as a whole should sound, before the independent Piano-only track lets you take the place of the clarinettist in your very own performance. This is a unique opportunity for clarinettists to learn from an authoritative score, and play along to a special backing track, with a work that's one of the finest for the instrument ever composed. For clarinettist fans of Francis Poulenc , lovers of Les Six, or just players with a proclivity for beautiful music, this edition of Sonata For Clarinet And Piano has been a long-time coming, and now it's available in this unique edition with accompanying download card.

SEK 276.00
1