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Nico Muhly: Drones, Variations, Ornaments - For Ensemble

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.

DKK 269.00
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Nico Muhly: Patterns

Nico Muhly: Patterns

Nico Muhly 's Patterns is a work in four sections for solo Organ. Patterns was commissioned by the American Guild of Organists for the 2014 Biennial National Convention in Boston, Massachusetts, U.S.A. ' Patterns is composed in four sections, each of which is sort of a rhythmic étude. The first (“Move Along”) is a perpetual motion machine with staggered and angular rhythms thrown between the pedals and the left hand. The second movement (“Palindromes”) is calmer and is centered around an idée fixe in the left hand while the right hand interjects and ornaments. The pedals, here, are a clumsy cousin, constantly upturning the sense of rhythmic stability. The third movement (“Similar”) is all to do with ways to divide up the bar: seven, eight, six, five, four — it’s all there. Then the finale (“Very Fast Music”) is a perpetual motion machine on its highest setting — manic and hyper, with hiccoughs offsetting the regularity of some of the rhythms. ' - Nico Muhly

DKK 189.00
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Nico Muhly: Sentences (Vocal Score)

Nico Muhly: Sentences (Vocal Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

DKK 261.00
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Nico Muhly: Sentences (Full Score)

Nico Muhly: Sentences (Full Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

DKK 523.00
1

Nico Muhly: It Goes Without Saying

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.

DKK 158.00
1