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Kaija Saariaho: Aile Du Songe (Score)

Kaija Saariaho: Aile Du Songe (Score)

Concerto For Flute And Orchestra. Study Score edition. First performed at the Flanders Festival in Brussels 12th October 2001. Composer's Notes:I have been very familiar with the flute since my earliest pieces. I like the sound in which breathing is ever present and with timbral possibilities that befit my musical language: the instrument's body makes it possible to write phrases that go through grinding textures coloured with phonemes whispered by the flutist which gradually go towards pure and smooth sounds.

SEK 484.00
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John Tavener: Two Hymns To The Mother Of God

John Tavener: Two Hymns To The Mother Of God

Two hymns written for unaccompanied choir by Tavener. The first is for SAATBBSAATBB double choir, and is a setting of a text from the Liturgy of St. Basil. The second is for SSATBBB choir and comes from the Vigil Service of the Dormition (or falling asleep) of the Mother of God. She invites the apostles to gather together from the ends of the earth to bury her body in Gethsemane, and asks her son to receive the spirit.Two hymns to the Mother of God were first performed in December 1985 by the Choir of Winchester Cathedral conducted by Martin Neary.

SEK 107.00
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Byrd, W Ave Verum Satb (From Chester Motet Book 2-english)

Byrd, W Ave Verum Satb (From Chester Motet Book 2-english)

William Byrd (c. 1540-1623) was an English renaissance composer who wrote several well-known works in both the Catholic and Anglican traditions, many of which are still highly popular today. He studied under Thomas Tallis at the Chapel Royal, before becoming organist and master of the Choristers at Lincoln. He later returned to the Chapel Royal as Gentleman and Organist. Ave Verum (“Hail True Body”) is a hymn to the Blessed Sacrament for SATB choir. This edition is printed with the original Latin text and a keyboard reduction for rehearsal or accompaniment. Ideal as a short anthem for a choir of any size.

SEK 73.00
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Giles Swayne: The Tiglet

Giles Swayne: The Tiglet

Written by Giles Swayne in 1995, based around the poem 'The Tiger' by William Blake. The work is for SATB choir, and SSSATB soloists. A separate line for hands and feet is included on the score, with fingerclicking and foot stomping adding to the percussive feel of the work.This is the full score, showing all vocal parts, and the body percussion line....African influences are also felt in Swayne?s Blake setting The Tiglet, which bristles with foot stamping, finger clicking and sharp vocal projectiles...Robert Levett, International Record Review, 01 February 2007The Tiglet (part of Swayne's work The Tiger) features some 'wild syllabic interjections, half sung and half shouted' which have to be heard to be believed!Church Music Quarterly, 01 December 2006Listen to a sample here

SEK 102.00
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John Tavener: Svyati

John Tavener: Svyati

Svyati - 'O Holy One' for choir and solo cello. Text in church Slavonic.Quoting Tavener: 'I began to write Svyati in early 1995: while sketching it, I learned that John Williams, father of Jane, my dear friend and publisher, was dying. I could not refrain from dedicating it to Jane and to the memory of her father.The text is in Church Slavonic, and it is used at almost every Russian Orthodox service, perhaps most poignantly after the congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church, followed by the mourners with lighted candles. The cello represents the Priest or Ikon of Christ, and should play at a distance from the choir, perhaps at the opposite end of the building. As is Greek drama, choir and priest are in dialogue with each other. Since the cello represents the Ikon of Christ, it must be played without any sentiment of a Western character, but should derive from the chanting of the Eastern Orthodox Church.

SEK 167.00
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Robert Saxton: Chacony For Piano, Left Hand

Robert Saxton: Chacony For Piano, Left Hand

Written by Robert Saxton in 1988 for piano, left hand only.'The Chacony was commissioned by the Aldeburgh Festival and first performed there in 1988 by the American pianist Leon Fleisher. In rising to the challenge of writing for left hand alone, Saxton has reduced the basic material (the underlying ground bass theme) to the simplest element: a whole tone scale. Thus, the opening section gradually reveals, via a clear indication that D major is the central tonality of the work, the scale through a series of hesitant gestures, the main body of the piece bursting out of the tensions created in the intervals of the scale, especially the tritone (which plays an important part in the melodic version throughout).As with, say, the finest variation sets or grounds of a composer like Byrd, the considerable virtuosity of the keyboard writing always stems from the musical or intellectual stimulus, and is never mere empty show. This is a virtuosic response to the challenge of the imposed limitations, beautifully written for piano and culminating in a final section in which D is once more resoundingly affirmed as the centre of the work, though, with equal resonance, the tritone has the last word.Duration c. 6mins.

SEK 196.00
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Richard Reed Parry: Quartet For Heart And Breath (For String Quartet)

Richard Reed Parry: Quartet For Heart And Breath (For String Quartet)

Richard Reed Parry 's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello). Richard Reed Parry is familiar to millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets. The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience. Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry . Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body.

SEK 236.00
1

James Whitbourn: A Brief Story of Peter Abelard (Soprano Saxophone/Piano)

James Whitbourn: A Brief Story of Peter Abelard (Soprano Saxophone/Piano)

For Soprano Saxophone and Piano accompaniment."Peter Abelard was a medieval philosopher, poet and musician, born in France in 1079. He taught at Notre Dame Cathedral in Paris, lodging with Canon Fulbert, whoadmired his work. In time, he also became tutor to Fulbert's beautiful seventeen-yearoldniece, Heloïse.Abelard and Heloïse began a passionate love affair (Dance of Peter and Heloïse),which resulted in a son, Astrolabe.For the sake of Abelard's position, they married secretly, and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Heloïse to a convent, believing that he had abandoned her in favour of his owncareer. In revenge, he had Abelard castrated (Revenge of Canon Fulbert).After his mutilation, Abelard became a monk, and he and Heloïse remained constantcorrespondents for the remainder of his life. He composed a hymnbook for Heloïse,who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem, set to a beautiful melody in the Dorian mode,O Quanta Qualia.On his death in 1142, his remains were taken to the Paraclete at Heloïse's request, andher body was later laid to rest in the same tomb. Finally, their remains were taken toParis and in 1817 they were buried together in one sepulchre (In Paradisum).Peter Abelard documented much of his own story in a number of writings, includingthe Historia Calamitatum Mearum (The story of my troubles)."             - James Whitbourn

SEK 236.00
1

James Whitbourn: A Brief Story of Peter Abelard (Soprano Saxophone/Organ)

James Whitbourn: A Brief Story of Peter Abelard (Soprano Saxophone/Organ)

For Soprano Saxophone and Organ accompaniment."Peter Abelard was a medieval philosopher, poet and musician, born in France in 1079. He taught at Notre Dame Cathedral in Paris, lodging with Canon Fulbert, whoadmired his work. In time, he also became tutor to Fulbert's beautiful seventeen-yearoldniece, Heloïse.Abelard and Heloïse began a passionate love affair (Dance of Peter and Heloïse),which resulted in a son, Astrolabe.For the sake of Abelard's position, they married secretly, and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Heloïse to a convent, believing that he had abandoned her in favour of his owncareer. In revenge, he had Abelard castrated (Revenge of Canon Fulbert).After his mutilation, Abelard became a monk, and he and Heloïse remained constantcorrespondents for the remainder of his life. He composed a hymnbook for Heloïse,who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem, set to a beautiful melody in the Dorian mode,O Quanta Qualia.On his death in 1142, his remains were taken to the Paraclete at Heloïse's request, andher body was later laid to rest in the same tomb. Finally, their remains were taken toParis and in 1817 they were buried together in one sepulchre (In Paradisum).Peter Abelard documented much of his own story in a number of writings, includingthe Historia Calamitatum Mearum (The story of my troubles)."             - James Whitbourn

SEK 236.00
1

John Tavener: Elizabeth, Full Of Grace (Full Score)

John Tavener: Elizabeth, Full Of Grace (Full Score)

The composer writes: Commissioned by HRH the Prince of Wales in memory of Her Majesty Queen Elizabeth The Queen Mother and in Aid of The Saints Martha and Mary Convent of Mercy, Moscow. Esoterically speaking, Elizabeth ? full of Grace is about the life and martyrdom of Grand Duchess St. Elizabeth, New Martyr of Russia. It resembles an Ikon in sound in its severity of form, and in its ritual incantation of the name of Elizabeth. It is a succinct telling of the outward story of her life; her descent into hell (represented by the violent intrusion of the full organ ? she was hurled down a mine by the Bolsheviks); and a shimmering evocation of the sweet perfume that emanated from her uncorrupted body when it was later discovered in Jerusalem. Esoterically, the music is a Prayer. Life, death, the encounter with God, then eternity ? all these realities are already present in Prayer, in the timeless actuality of the Divine Presence. Being present with God in prayer is a death in life and a life in death, as it was for St. Elizabeth, and as it will be for us. Holy Elizabeth, pray to god for us! The music uses three sets of boys' voices (trebles and altos) two of which should be positioned at a distance from the main choir and orchestra. It is punctuated by the sound of a large Tibetan temple bowl. Elizabeth ? full of Grace is also dedicated to the memory of Queen Elizabeth the Queen Mother.

SEK 276.00
1

Michael Nyman: Mose (Vocal Score)

Michael Nyman: Mose (Vocal Score)

Composer's Notes:When I was asked to write a piece to celebrate the restoration of Michelangelo?s Mosè, I returned to the paper written by Sigmund Freud on the sculpture which I had discovered by chance many years ago. Freud?s fascination with the Mosè began in 1901 when he visited San Pietro in Vincoli for the first time. A series of subsequent visits culminated in the publication of the Moses of Michaelangelo in 1914, from which I have used two extracts to ?frame? the main body of my text which consists of selections from Michelangelo?s own letters. In 1505 Michelangelo was summoned to Rome by Pope Julis II and was commissioned to build a tomb which would reflect the magnificence of the Pontiff?s reign. Forty years and four Popes later, the tomb, modified and scaled down due to a variety of financial and political changes of circumstance, was completed. The letters give the impression of an idealist at work: Michelangelo personally selected each piece of marble and supervised its transportation to Rome by his more worldly and capricious paymasters. His creative and artistic frustrations are mirrored by problems of a more a practical nature; payment for both his services and the materials is erratic. At one point his is accused of embezzling funds. The complete text tells the story of an artists struggle and eventual triumph against external circumstances. The Mosè, by virtue of its very nature combines the elements of the physical and the spiritual with which Michelangelo challenged and eventually triumphed over the restraints of the context in which he had to work. The lovingly selected and cared for marble in the hands of the unpaid, exploited artist is transformed into something more substantial and eternal. Michael Nyman

SEK 107.00
1

Magnus Lindberg: Corrente No.2 (Score)

Magnus Lindberg: Corrente No.2 (Score)

Orchestral work commissioned by the BBC, and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis, The Barbican Hall, November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991 preceded by three works for different orchestral effectives (Kinetics, Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon an extended chaconne principle with chord chains cycling around, undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between a brick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of 1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players, as a study for the full orchestra version entitled Corrente II.In order to bring the harmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitches based on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions. The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a "narrative" sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass qualities expanded, the dramaturgy of the piece also changed. Corrente lasts for about 12 minutes whereas Corrente II spans over 20 minutes.Basically the original flow of Corrente is still present in the final version of this project. One could think of a landscape, viewed from different distances, approaching it and thus discovering new details or by moving apart from it and seeing it as part of a larger context.Orchestrally the piece is written for a standard formation with, except for timpani and vibraphone hardly any percussions.One particularity was to leave out the flutes from the orchestra. I don't have anything against the flutes, on the contrary, but by doing so the outline of the sound body became enforced as the top of the wind group was scored by either oboes or clarinets. Consequently I didn't include the tuba in the brass section, thus giving the bass trombone a stronger emphasis also marking this enforcement of the frames.

SEK 484.00
1