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Dawn, Still Darkness : Refugee's Aria from Flight

Taken from Flight Jonathan Dove and April de Angelis’s superb original modern-day operatic comedy Dawn, Still Darkness is an aria for countertenor telling of a refugee's longing to be reunited with his brother. Also known asthe Refugee's Aria, Dawn, Still Darkness is now available separately for countertenor and piano for the first time. The opera, Flight has had many different productions to date across the world and tells the story of a refugeewho lives in an airport inspired by the true-life story of an Iranian refugee who lived at Charles de Gaulle Airport, Paris, for 18 years as dramas unfold around characters who find themselves delayed in theterminal. Contemporary aria for countertenor and piano. Extract from Jonathan Dove's highly successful comic opera Flight. Also known as the 'Refugee's Aria'

Flight

Flight : Opera

Airport Scenes : Orchestral Suite from Flight

Night Flight (Tone Poem for Orchestra)

Earthrise : Version for accompanied SATB Choir

A choral work inspired by the photograph of the same name taken from lunar orbit in 1968, considering the positive and negative sides of the human race's mastery and control of the world. The work was commissioned by the UK choir Ex Cathedra for its 40th anniversary, which fell in the same year (1969) as the 40th anniversary of the Moon landing. It was written for 40-part choir, on the model of Thomas Tallis's famous Spem in alium.

Violin Sonatas Volume 2

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many ofthe apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As hewrites in the preface, '...the notion that the classical style represents a model of symmetry, balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice, which isbasedprimarily on variety of both content and articulation.' So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilized by a spurious quest for conformity. Naturally allsuch instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure andaccent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary, he believes that 'there is compelling evidence that Mozart's later performances of his works were characterizedby changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend, and as such it is likely to take pride of place in thecollections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296, K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

24 Preludes And Fugues Op.87 - Book 1

Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have severalfundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascendingsemi-tonalorder of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this orderwould have a sort of subliminal narrative sub-text, taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally,Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal inlanguage — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is awork which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century. Volume 1 comprises numbers1-12.

24 Preludes And Fugues Op.87

Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have severalfundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascendingsemi-tonalorder of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this orderwould have a sort of subliminal narrative sub-text, taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally,Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal inlanguage — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is awork which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century. Volume 2 comprises numbers13-24.