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J. S. Bach French Suite No. 5 In C (Arr. Nestor Ausqui)

J. S. Bach French Suite No. 5 In C (Arr. Nestor Ausqui)

The much anticipated 5th French Suite by J. S. Bach has finally been published in its entirety for Classical Guitar by internationally acclaimed Argentinian virtuoso Nestor Ausqui . This sui generis collection has been widely sought after by guitarists, whom for many years only could attain fragmented pieces of the suite. Now the entire suite is available for the first time! " The transcriber must understand the essence and intent of the original, and then in the transcription, create the impression that the music was indeed originally written for the guitar. In this transcription of the 5th French Suite, Nestor Ausqui has accomplished this brilliantly ." - Dr. William Toutant (Professor Emeritus and former Dean of Music at California State University Northridge)

SEK 234.00
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Richard Reed Parry: Quartet For Heart And Breath

Richard Reed Parry: Quartet For Heart And Breath

Richard Reed Parry 's Quartet For Heart And Breath for mixed Ensemble. Quartet for Heart And Breath was commissioned for Kronos Quartet by the 2009 MusicNOW Festival. The mixed Ensemble arrangement was premiered by yMusic. Instrumentation: Flute, Clarinet in Bb, Trumpet in Bb, Violin, Viola, Violoncello and Double Bass (optional). ' This piece is based around the idea of using the widely varying internal rhythms of the performers’ bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathing rates of the players are used in alternation with the individual performers’ heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly and delicately, with little or no vibrato, so as to be able to hear their heartbeats adequately. This, in combination with thenatural variance between the different heart rates, results in a kind of delicate musical “pointillism”: starts and stops which are somewhat staggered, parts which repeatedly line up and fall out of synch with each other, different individuals’ pulses rising and falling. The piece is never performed exactly the same way twice. The performers wear stethoscopes positioned over their hearts so that each can follow his or her own heart rate. Two eighth notes/quavers correspond to the two sounds of a normal heartbeat, and performers should match as closely as possible the staccato and irregular rhythm they hear. When instructed to ‘play to breath’, the natural cycle of one inhalation and one exhalation, or vice versa, will determine the length of the bar (two quarter notes/crotchets) without any attempt to make it metronomic. For wind players this means that the phrase is extended to encompass the whole of their natural breath, without straining to hold for as long as possible. When one instrument is designated the leader, their breath will determine the starts of phrases and the procession from one bar to the next, cuing other parts if necessary. ' - Richard Reed Parry

SEK 269.00
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Richard Reed Parry: Heart And Breath Sextet

Richard Reed Parry: Heart And Breath Sextet

Richard Reed Parry 's Heart And Breath Sextet for Piano Six-hands, Violin, Viola and Violoncello. Heart And Breath Sextet was commissioned by the 2011 MusicNOW Festival for yMusic. ' This piece is based around the idea of using the widely varying internal rhythms of the performers’ bodies as performance parameters. There is no actual tempo or meter built into the piece. The breathing rates of the players are used in alternation with the individualperformers’ heart rates to determine the pace at which all of the musical material is played. This requires that the performers generally play quietly and delicately, so as to be able to hear their heartbeats adequately. This, in combination with the natural variance between the different heart rates, results in a kind of delicate musical “pointillism”: starts and stops which are somewhat staggered, parts which repeatedly line up and fall out of synch with each other, different individuals’ pulses rising and falling. The piece is never performed exactly the same way twice. In this piece, the pianists wear stethoscopes positioned over their hearts so that each can follow his or her own heart rate. Two eighth notes (quavers) correspond to the two sounds of a single normal heartbeat, and performers should match as closely as possible the staccato and irregular rhythm they hear. The strings are instructed to ‘play to breath’; the natural cycle of one inhalation and one exhalation, or vice versa, will determine the length of the bar (two quarter notes/crotchets) without any attempt to make it metronomic. When one instrument is designated the leader, their breath will determine the starts of phrases and the procession from one bar to the next, cuing other parts if necessary. ' - Richard Reed Parry

SEK 269.00
1

James Weeks: Ærc

James Weeks: Ærc

James Weeks '  Ærc for any number of orchestral string instruments (at least 12). Composed and published 2016. Duration: 26-30 minutes. Ærc is the Old Engliosh word for ark, dervied from the Latin arca, a chest. Here it denotes an enclosed space, perhaps of refuge or safety, certainly of intimacy. As in the ark or Noah, the players are paired, entering the figurative space of the work two-by-two and creating a dense polyphonic texture (a giant viol consort) from breath-like bow-strokes, each pair in rythmic unison, before exiting in sequence.

SEK 121.00
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