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George Nicholson: String Quartet No.5 (Parts)

George Nicholson: String Quartet No.5 (Parts)

George Nicholson's String Quartet No.5 . George Nicholson was born in County Durham in 1949 and studied at the University of York with David Blake and Bernard Rands, receiving his doctorate in 1979. For ten years he pursued a freelance career in London before being appointed Lecturer in Music and Director of Composition at Keele University in 1988. In January 1996 he took up the post of Senior Lecturer in Composition at Sheffield University.

DKK 284.00
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George Nicholson: String Quartet No.5 (Score)

George Nicholson: String Quartet No.5 (Score)

George Nicholson's String Quartet No.5 . George Nicholson was born in County Durham in 1949 and studied at the University of York with David Blake and Bernard Rands, receiving his doctorate in 1979. For ten years he pursued a freelance career in London before being appointed Lecturer in Music and Director of Composition at Keele University in 1988. In January 1996 he took up the post of Senior Lecturer in Composition at Sheffield University.

DKK 284.00
1

James Weeks: Meadow

James Weeks: Meadow

Meadow  is an installation for any performers – singers, instrumentalists of any type – and requires large numbers (minimum 20). It should be performed without musical score, although the text to be spoken may be printed on a piece of card that can be held in the hand by performers. In addition, each performer will require a coloured tissue paper ‘butterfly’, as detailed in the score. The performers populate a sonic wildflower meadow, constantly varied in detail but unchanging in overall texture. They collectively produce a highly variegated, quiet ‘hum’ – a dense but delicate weave of sound that may rise only a little above the ambient sound of the performance space, revealing its intricacies only to those listening close-up. Meadow  was designed to work as a pop-up performance within a large, multipurpose public space, though a relatively quiet environment is necessary. Performers work independently from each other. The whole group should be quite densely clustered, close together, but one or more paths through the performer ‘meadow’ should be left. The audience should be able to walk among, around and through the performance as much as possible.

DKK 96.00
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Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes ' A Time For Singing for Clarinet, Cello and Piano. Score and parts. ' My sister, the clarinettist Alison Hughes, is a member of the Camilleri Trio who gave the first performance. The work was conceived in memory of our aunt, Gillian Nicholls. The four movements are: 1. Walk with rainstorm 2. Song 3. Scherzo 4. Until the day break It is a kind of narrative - in one sense an imagined walk through a changing landscape. A very English one, in other words one in which it rains! But sometimes lit up by sunshine. It remembers Gillie Nicholls, who loved walking and loved life. She died from cancer in 2010. I wanted to write a piece that would remember her and her wonderful enthusiasm and sense of humour, as well as forming a more traditional lament. So there are elements of each in this piece. Gillie was also a profoundly spiritual person. When she and John Muddiman married in 2010 they asked me to write a short song for the wedding, 'Rise Up, My Love', using words from 'Song of Solomon'. The new work for the Camilleri Trio, commissioned by Jennifer Hughes in memory of her sister Gillian Nicholls, also refers in the main title, and in the last movement title, to lines from 'Song of Solomon': the time of the singing of birds is come - Song of Solomon 2:12 Until the day break, and the shadows flee away - Song of Solomon 2:17 A Time for Singing was written for the Camilleri Trio - Alison Hughes (clarinet/bass clarinet), Anja Inge (cello), Joanne Camilleri (piano). It was first performed by them at Mansfield Chapel, Mansfield College, Oxford, on 30 October 2011. ' - Ed Hughes

DKK 284.00
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Anthony Gilbert: People Pieces

Anthony Gilbert: People Pieces

Cover design by Anna Aslanova, 11, winner of the design competition, September 2005. Images by the runners-up, Jayana and Nisha Patel, 12, appear on pages 10 and 13, depicting particular 'people'.Anthony Gilbert's impressive set of People Pieces contains an accessible, fun and stimulating array of 10 pieces in different characters designed for beginner and intermediate piano students. The volume has been written in consultation with the pianist and teacher Kate Dixon who has edited the book.With numbers like Peaceful Person and Tired Teacher for absolute beginners, to Bluesy Busker, Cockney Character and Fitness Fanatic that work towards the ABRSM Grade 5 level, the book is a hit with toddlers and teenagers alike. People Pieces makes an ideal accompaniment or alternative to grade exam pieces, and covers a range of techniques and musical styles that is sure to keep any student enthusiastic.

DKK 119.00
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Anthony Gilbert: Monsoon Toccata

Anthony Gilbert: Monsoon Toccata

Monsoon Toccata by Anthony Gilbert. 3'33"; for solo piano. In memoriam Janet Owen Thomas (1961-2002)."In 1988, Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together, doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon, and early the following morning there was also a minor earthquake.This experience determined the spirit of the music, and Northern Indian Raga determines the purely technical approach, with the quasi-improvisatory toccatalike textures acting as decoration to a slow-moving, widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena."A.G.

DKK 96.00
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Luis Tinoco: Paint Me (Score)

Luis Tinoco: Paint Me (Score)

Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me', and Opera for six singers and Chamber Orchestra.Rui Horta and Joana Carneiro are responsible for the stage direction and the musical direction."My idea in writing Paint Me was to bring together six characters, all of whom have a prolific imaginative interior life, and to explore what they would make of each other in the confines of a railway compartment. The model for my libretto is Geoffrey Chaucer?s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury, but they are strangers thrown together by the randomness of modern travel. Their tales are not told publicly, but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. This introspection in public opens up a private fantasy space, in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character?s fantasy into a full narrative. The result is a kind of anthology of operatic short stories, surrounded by the framework of an ordinary journey."     - Stephen Plaice

DKK 450.00
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Phillip Neil Martin: Human Drum

Phillip Neil Martin: Human Drum

Phillip Neil Martin 's Human Drum for three voices (SSA). Duration: 3 minutes Composed: 2006 Also published as part of UYMP's Songspin Songbook, ISMN M 57036 603 3. Human Drum was a collaboration with the Juice Vocal Ensemble. The piece began in the recording studio where I recorded Juice singing notated fragments I’d popped together and also their own improvisations. I then edited and cut up all the audio into very tiny fragments in a myriad of ways to make a short rhythm-based electronic 3 part vocal piece. This forms part of my larger work Voices of the Asylum for voices, human beatbox, electronics, fashion and space. The final track bares very little resemblance to the original recording studio session. Several weeks after I had finished Human Drum Juice asked me to transcribe the audio so they could sing the piece live (which wasn’t easy to do after all the cutting and processing!), therefore coming full circle! There are now two versions of Human Drum , the studio electronic track and the ‘live’ notated version. Human Drum is dedicated to the Juice Vocal Ensemble with affection. First performed by Juice Vocal Ensemble on 3rd May 2007 at York Spring Festival, Sir Jack Lyons Concert Hall, University of York.

DKK 56.00
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Sadie Harrison: Dast be Dast

Sadie Harrison: Dast be Dast

Dast be Dast ('Hand to hand in friendship') was commissioned by Cuatro Puntos, a pioneering ensemble of chamber musicians dedicated to global cooperation and peace through the writing and performance of new music worldwide. The piece was written specifically for their violist Kevin Bishop, and for Rubab player, Samim Zafar, a student of the extraordinary Afghanistan National Institute for Music (ANIM) in Kabul. Kevin suggested that the piece should represent the two distinct but equal musical cultures of the performers, and as such both players are required to adopt characteristics of each other's traditions, both techniques and languages. Dast be Dast illuminates various aspects of Afghan and Western music-making, with both instruments exploring improvisation alongside notation, controlled imitation with spontaneous elaboration, and Western tonality within Afghan scales. The piece is based on three Afghan songs each heard clearly in the three movements which are played without a break: I Anar Anar (Pomegranates): a fast song where the two instruments imitate each other, gradually becoming more and more elaborate. II Allah Hu (This is God): a meditative movement for solo viola based on a specific interpretation of Allah Hu sung as a lullaby by Veronica Doubleday in 2004. III Watan Jan (Dear Homeland): based on a whirling atan dance in 7/8. Gradually getting faster and faster the players have to keep up with each other's virtuosity. The work was premiered by Samim and Kevin on 23 June 2014 at ANIM, Kabul, Afghanistan.The work is dedicated to them both with admiration.

DKK 107.00
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A Hymn to the Thames

A Hymn to the Thames

A Hymn to the Thames was commissioned by James Turnbull and the Music Director of the St Paul’s Sinfonia, Andrew Morley. It was begun in 2019 and completed early in 2020. There are four movements played without a break, which follow the Thames from its Cotswold source to the North Sea. As the first performance took place in St ALfege’s Church, Greenwich, this seemed appropriate. The solo oboe represents both a wanderer along the river path and the spirit of the river. The pitch centres of the movements spell out the musical letters of the river (tHAmES—B natural, A, E and E flat) so that the river’s name is projected across the whole work. In addition, the musical letters found in James Turnbull, Andrew Morley and my wife, Teresa Cahill ( who was born in Maidenhead and brought up by the river in Rotherhithe) are entwined in various guises. The first movement grows from the depths, the soloist entering with fanfare-like gestures, followed by lyrical music and breaks into a dance as the river gathers momentum. The third movement is slow and sustained and geographically the Thames flows through Oxford. The music is based on the well-known In Nomine ‘head motif’ from the Gloria tibi Trinitas Mass by the early Tudor composer, John Taverner, who was the first Director of Music at Christ Church, Oxford. The orchestra provides a screen or veil above which the solo oboe dreams and ruminates. This leads directly into the fourth and final movement which begins in the depths once more, interrupting the oboe’s held note from the end of the third movement. The waters’ increasing intensity and power are represented throughout by a moto perpetuo of quick, steady semiquavers. Near the close, the woodwind play O Nata Lux by Thomas Tallis, the great Tudor composer who, with his wife Joan, is buried in St Alfege’s. Beneath this, the lower strings continue the fast semiquaver movement of the river and, above, the violins are heard as a halo of harmonics. At the close, the oboe rises, opening out to the future, and celebrating its voyage, while the orchestra fades as the river meets the sea. A Hymn to the Thames lasts approximately 17 minutes.

DKK 217.00
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