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Nico Muhly: So Many Things

The sheet music for contemporary virtuoso composer Nico Muhly 's So Many Things , arranged for Mezzo-Soprano and Piano Accompaniment. So Many Things  was commissioned by a number of institutions, including The Los Angeles Philharmonic Association, UC Berkeley and Carnegie Hall. Lasting around 15 minutes, Muhly has set three poems to this wonderful music, including a lengthy narrative poem by Joyce Carol Oates and two translations of C.F. Cavafy by Daniel Mendelsohn. Muhly  has brilliantly managed to take the emotion of the words and replicate them through music, creating an astonishingly moving accompaniment that not only reflects the lyrical sentiment but complements it. He states that the Piano moves between skittish and ostinato, relentless but often pausing for an effective break in the musical narrative. With drones and palindromes from the Piano, the Voice leaps between intervals, creating a dynamism that creates uncertainty rather than resolve, much like the poetry.

Nico Muhly: So Many Things (Score/Parts)

So Many Things is a work by  Nico Muhly for Mezzo-Soprano and String Quartet. The piece sets two poems by C.P. Cavafy and one by Joyce Carol Oates for a vocal work that lasts around 15 minutes. This is the score and parts.

Robin Holcomb: Tiny Sisters

Nico Muhly: Diacritical Marks (Score/Parts)

Diacritical Marks was written for the Chiara Quartet in 2011, and is in eight short movements. I have a huge anxiety about string quartets; they are normally meant to be giant expressions of a composer?s emotional life. Here, I focused on details: a tiny dot above a letter, a tiny swivel of the bow. The first and last movements are energetic and driving, and the middle movements are more lyrical, rhapsodic, and/or floating. The quartet is bound together by a piece of drone music, found in movements 3, 5, and 7, in which the second violin and the viola play an interlocking repeating pattern ad infinitum, while the cello and first violin spin very long, outrageous lines on top. The piece lasts just under 20 minutes. ?Nico Muhly

Nico Muhly: Expecting The Main Things From You (SATB)

Originally for Choir, String Quartet, Percussion & Organ, with text from Leaves Of Grass . Found here arranged for SATB and Piano accompaniment.

Nico Muhly: Honest Music

Honest Music has, in the composer?s words, ?a makeshift nature?the sad beauty of things coming together and things falling apart?. There are long, expressive gestures with Romantic moments, sputtering harp figures, and ?glitchy, staticky? noises. Contemporary American composer Nico Muhly is a prolific writer and arranger who, at 32, is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas, and many solo pieces and works for small ensemble, Orchestra, and Chorus and he has collaborated widely.

Nico Muhly: Expecting The Main Things From You (Full Score)

Written for SATB Choir, String Quartet, Percussion and Organ.

Nico Muhly: I Shudder To Think

Classical composer Muhly said of this commissioned piece: I Shudder to Think is a very awkward piece. It's very fast, very aggressive, very dream music. This Score and Parts has been composed for Percussion Quintet.

Nico Muhly: Duet No.1 - Chorale Pointing Downwards

Duet No.1: Chorale Pointing Downwards is a work by contemporary composer Nico Muhly for Viola and Cello. The piece received its premiere at the Tenri Cultural Institute in New York in February 2004. Muhly  himself writes of the work that it's the first in a series of short string pieces that serve simultaneous purposes as harmonic and technical studies for both composer and performers. Duet No.1  is constructed around a cycle of fourteen chords repeated almost without cessation. This drone-like cycle is subject to a few rhythmic alterations, as well as two interruptions, keeping things dynamic and exciting. The middle of the piece becomes, in Muhly 's words, "a sort of fervent perpetual-motion perseverance", in an attempt to combine harmonic beauty with what sounds like a musical exercise.

Nico Muhly: It Goes Without Saying

For a piece with such a strong electronic component, 'It Goes Without Saying' is surprisingly organic. While the electronics include chillier, metallic noises—samples ranging from a kitchen whisk to a unique set of tiny bells—most prominent are the warm, woody sounds of a harmonium and of clicking clarinet-keys, sounds that share a certain sonic DNA with the live components of the performance.The piece also develops according to organic principles. Over the initial drone of the harmonium, the rhythm track and the clarinets build the material of the piece up from small, replicating cells into a lively and elaborate texture. The minutely wrought surface is stretched over the simplest possible formal contour, the drone undergirding the piece progressing from C to F and back again. When the slowly building dissonance of the underlying harmonium chord finally reaches its tipping point, the resolution corresponds to a dramatic timbral shock: a shocking burst of industrial noise, dominating rather than complementing its acoustic surroundings. Finally, the machine noises die away and the harmonies return home, the texture warms once again—now leavened by the gentle sound of the celesta. – Program Notes © 2007 Daniel Johnson Performance Notes: The clarinet should be placed in the center of the stage. If amplification is used (which is not necessary but can help solve certain balance issues), it is recommended that there be one microphone traditionally placed, and another close to the side of the instrument, gently amplifying the natural sound of the keys clicking.

Nico Muhly: So To Speak (Study Score)

This piece was first performed by the Juilliard Orchestra in April 2004, conducted by Jeffrey Milarsky.

Nico Muhly: Looking Up (Vocal Score)

Nico Muhly's Looking Up for SATB and Orchestra. Programme note: Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft’s psalter (1621), in which he writes: “The singing of Psalmes (as say the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.” It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling and descanting” — an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental music for worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches. One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers — each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord…” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awe for the divine. The text for the third, and shortest, section is taken from Christopher Smart’s (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clust’ring spheres” to the “nosegay in the vale.” The vision of these stanzas range from the stupendous force of God to the “virtuous root” below our feet. Here, the orchestra creates an atmosphere of natural calmness, over which the bass section begins a long, sinewy tune, and is soon joined by the rest of the voices, always calm and serene.

Nico Muhly: My Days (Full Score)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Full score. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

Nico Muhly: My Days (Parts)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Parts for five Viols. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

Nico Muhly: Drones, Variations, Ornaments - For Ensemble

This Drones, Variations, Ornaments sheet music is the full score for this innovative and dramatic piece by Nico Muhly . According to Muhly , this piece is "music in constant transformation", featuring steadily evolving melodies from a number of instruments, punctuated with hugely original percussive parts, with instructions to fill the Cymbal with chain, coins and other metal objects in order to make it sound like glass shattering. It is this inspired composition that makes Drones, Variations, Ornaments the interesting and acclaimed piece that it is. With this piece, Muhly has attempted to recreate the sound and motion of a machine through music. String chords begin the piece with a light and soothing opening, before the "machine" (made up of Winds, Guitar, Percussion and Piano) awakens. This truly unusual piece is a joy to listen to and perform, and we are pleased to offer this full score to you.

Nico Muhly: Luminous Body (For Nine Male Voices And Orchestra)

Luminous Body is a collaboration between Nico Muhly and Craig Lucas, written in the period immediately following their narratively charged opera 'Two Boys'. Luminous Body is, as a result, abstract and poetic in gesture and form. The text interpolates, among other things, stylized versions of the teachings of Christ, Buddha, Mohammed, and Plato; these are scrambled and re-contextualized and, in a sense, serve as background for the textures of the combination of nine male Voices and Orchestra. Part 1 introduces the chord structure that governs the entire piece, and ends with the repeated words, ?only your will is your own.? The second and third parts, loosely dealing with the Devil and the importance of choosing one?s words, are based on drones generated by the Voices and the strings; the constant (but slightly morphing) texture is meant to be meditative and vague. Muhly always wanted to set the Beatitudes, and Craig paraphrased them beautifully here; the tenors intone the word ?blessed? over and over while the strings and winds reiterate the passacaglia from the opening of the piece. The fifth and final part is a series of proverbs. The Orchestra begins in a series of loose, ecstatic drones, which increase in intensity (?Make your own family!?) until you jump suddenly to the garden of Gethsemane, where Christ was betrayed while his disciples slept. ?Why are you sleeping? Couldn?t you stay awake for one more hour?? he asks, while the strings and winds lazily chant in the background. Luminous Body was premiered by The St. Paul Chamber Orchestra and Cantus.

Nico Muhly: I Cannot Attain Unto It

Written for SSATB choir. Dedicated to the Manhattan Choral Ensemble.

Nico Muhly: Control (Five Landscapes For Orchestra) (Full Score)

This is the Full Score for Nico Muhly 's Control: Five Landscapes For Orchestra . Commissioned by Utah Symphony and Thierry Fischer, Music Director, the work was first performed at Abravanel Hall in Salt Lake City in December 2015. According to the composer's note, Control  is a sequence of five episodes that each offer an aural description of some aspect of Utah's landscape, space and environment. From the land to the mountains to technology, industry and the striking colours of the state, Muhly 's work is a unique approach to musical representation.

Nico Muhly: Stabat Mater Dolorosa - Parts

Nico Muhly 's Stabat Mater Dolorosa for Soprano, Baritone and Ensemble. Parts. My Stabat Mater is a very simply-constructed piece of music. I knew I wanted to write a duet, a piece of religious music, and something to go along with a bit of Birtwistle. My initial instinct was to base the piece on drones, as Birtwistle's music has so very many notes, but then I decided that an austere but ecstatic approach was the best to fill a coherent evening. I asked my friend Craig Lucas to paraphrase the Stabat Mater text - which describes the Virgin Mary weeping at the foot of the cross on which her son is crucified. The piece is organised by separating each phrase of the text with a moment of silence, with the exception of the last three, which are joined with a frenzied chorale with improvised dynamics from the Harp, Wind and Strings . - Nico Muhly Instrumentation: Soprano and Baritone voice, Flute, Clarinet in Bb, Harp, Violin, Viola and Violoncello. 

Nico Muhly: You Can?t Get There From Here

Nico Muhly is an American contemporary classical music composer and arranger. You Can't Get There From Here is no exception to Nico's beautiful and accomplished style of writing.The work was commissioned by the Terezín Music Foundation as a living memorial to the composers and musicians of the Terezín concentration camp who perished during the Holocaust.

Nico Muhly: Choral Collection

This exclusive collection brings together 12 of Nico Muhly’s sacred works for mixed-voice choir. These vivacious, fresh and dramatic pieces will make an impact whether in the church or in the concert hall, and range from the intimate Lord, keep us modest when we claim to the effervescent Bright Star Carol, alongside service music such as Muhly’s Third Service. All are accessible to learn, and offer choirs a new slant on contemporary choral music at its very best.  "Choral music has always been at the emotional core of my musical output. Even when I’m writing large-scale orchestral works (or, indeed, chamber music), I always find myself returning to techniques and textures I’ve greedily stolen from centuries of music from Tye to Howells, early and recent. I try to design my own choral music primarily for use in worship, where the measure of the success of the piece is if it helps guide the listeners’ ears upwards and elsewhere, as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is, for me, an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year, but an anthem for Candlemas works only then, at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process, I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets, and represent a decade and a half of output." - Nico Muhly

Nico Muhly: Stabat Mater Dolorosa - Full Score

Nico Muhly 's Stabat Mater Dolorosa for Soprano, Baritone and Ensemble. Full score. My Stabat Mater is a very simply-constructed piece of music. I knew I wanted to write a duet, a piece of religious music, and something to go along with a bit of Birtwistle. My initial instinct was to base the piece on drones, as Birtwistle's music has so very many notes, but then I decided that an austere but ecstatic approach was the best to fill a coherent evening. I asked my friend Craig Lucas to paraphrase the Stabat Mater text - which describes the Virgin Mary weeping at the foot of the cross on which her son is crucified. The piece is organised by separating each phrase of the text with a moment of silence, with the exception of the last three, which are joined with a frenzied chorale with improvised dynamics from the Harp, Wind and Strings. - Nico Muhly Instrumentation: Soprano and Baritone voice, Flute, Clarinet in Bb, Harp, Violin, Viola and Violoncello.

Nico Muhly: Four Studies

Nico Muhly 's Four Studies for two Violins and Drone. ' Four Studies was written for Angela and Jennifer Chun in 2014. Each movement has a drone which lasts for the duration of the movement. The first bar of movements 1 and 4 can be quite long. The drone should remain loosely indifferent to the other part, avoiding any overly-dramatic commentary. That having been said, the droning player should feel free to subtly and constantly change the nature of the sound. Rests are meant to be played freely, expanding and contracting as the spirit moves the soloists, but the notes should be played in relatively even time. The space between the movements can work either with very short pauses or with no pauses at all; this is left up to the discretion of the performers .' - Nico Muhly Duration: approx. 12 minutes.

Nico Muhly: Old Bones

Nico Muhly 's Old Bones is a setting of four texts, three of which are the media's reaction to the discovery of the bones of Richard III in a Leicester car park, the fourth is a poem in praise of the man who supposedly killed the king. Arranged for Countertenor Voice and Lute, it was composed in 2013. According to Muhly , Old Bones  begins with a news report that is delivered as a recitative while the Lute parts go through a number of interesting patterns. The work sets two texts by Philippa Langley of the Richard III Society who, in a series of interviews, brought an emotion and passion to the rediscovery of the bones that humanised the remains and brought the life and death of the king to the public's attention. It is therefore fitting that Old Bones  ends with her words: "Everyone else was looking at the old bones, and I was seeing the man."

Nico Muhly: Time After Time (Score)

Written for soprano saxophone, marimba and percussion. Time After Time was written for the Yesaroun’ Duo (comprising multi-percussionist Sam Solomon & saxophonist Eric Hewitt) and marimbist Nancy Zeltsman. I set out to write a piece that was primarily energetic and rhythmically challenging enough for two percussionist and one honorary percussionist to play. The title refers to the fact that all the material recycles itself at different speeds. The marimba’s long, quasi-chorale lines proceed, initially, without noticing the rhythmic shifts and upheaval below. Halfway through the piece, a jagged marimba solo features the instrument’s precise, dance-like qualities, and after being joined by the saxophone and percussion, propels the whole ensemble towards the rhythmic and harmonic excesses of the final section.