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Poldowski: Tango for Violin and Piano

Poldowski: Tango for Violin and Piano

Tango is a dance style piece for Violin and Piano, written by Poldowski . They were composed for the Violin virtuoso Pawel Kochanski (1887-1934). Poldowski was pen name of the Belgian-British composer and pianist Regine Wieniawski , later Lady Dean Paul (1879-1932). She studied Piano at Brussels, London, and Paris, and started performed her own compositions at the age of 14. She initially adopted the pseudonym in order to pose as a male, but later cast of the anonymity, even performing under the false name. She is best remembered for her chamber compositions, and the many songs she wrote, both in English and in French.

SEK 196.00
1

Simon Holt: The Nightingale's To Blame (Vocal Score)

Simon Holt: The Nightingale's To Blame (Vocal Score)

This new Opera was first performed in 1998 in Huddersfield by Opera North. Designed for the modern stage, it utilises only a small cast and orchestra ? albeit one with a good variety of percussion! The libretto is adapted by the composer from the play ?The Love of Don Pemperlin for Belisa in the Garden? by Feredico Garcia Lorca, translated into English by David Johnston. The plot revolves around the ill-fated marriage of Don Pemperlin, an ageing bachelor and his beautiful neighbour Belisa, which was suggested by Pemperlin?s maid. Tricks and misunderstandings abound and because of them, Pemperlin ends by stabbing himself and dying even as Belisa proclaims her love for him.

SEK 608.00
1

Helen Grime: Into The Faded Air (Parts)

Helen Grime: Into The Faded Air (Parts)

Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall, Krakow, Poland on Sunday 13th January 2008, with Jacqueline Shave (Violin), Miranda Dale (Violin), Clare Finnimore (Viola), Catherine Musker (Viola), Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins, 2 Violas, and 2 Cellos)Duration: 10 minutesComposer's Notes"Into The Faded Air is cast in four movements although the last three movements are played without a break.In the first movement, the sextet is divided into two groups. The first group, consisting of violin, viola and cello plays a sustained melody while the second group (also violin, viola and cello) contributes more jagged and intricate material. The second movement is an extended duet for two violas, accompanied by the other instruments. As the movement progresses, the accompanying instruments become more prominent. The third movement is the only fast movement in the piece, with rapid semiquavers and much use of pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos." - Helen Grime

SEK 335.00
1

Burgon: The World Again (Score)

Burgon: The World Again (Score)

Psychologists agree that dreaming is essential to our mental well-being. Artists have always been intuitively aware of this, and the above lines are one illustration of this awareness. Composers, as well as painters and writers, have frequently drawn upon the fantastical imagery of dreams, and The World Again is an attempt to convey some of the power of this imagery in music.The work is cast in the shape of a rondo, with a coda which is really a summation of the piece. The ritornelli sections depict a dreamless sleep, and the episodes represent dreams. The ritornelli are based on a simple motif which is heard in either C major or minor, and never strays far from those keys.The World Again was commissioned by the Royal Philharmonic and first performed by them on 9 October 1984 at the Royal Festival Hall with Jane Manning (soprano) and conducted by Andrew Litton.In 1986 Christopher Bruce choreographed the work for the London Festival Ballet who gave the first performance on 18 July 1986 at the London Coliseum with the Orchestra of the London Festival Ballet with Sarah Leonard (soprano) and conducted by Graham Bond.

SEK 365.00
1

Michael Nyman: String Quartet No. 4 (Score)

Michael Nyman: String Quartet No. 4 (Score)

String Quartet No.4 was written for the Camilli Quartet who gave the first performance at the Queen Elizabeth Hall, London, April 1995. It is dedicated to the memory of Nyman's composition teacher, Alan Bush.This quartet is a narrative made up of a chain of twelve complete but often cross-related movements, each quite simple in design. For instance, the Scottish melody first heard in the second half of I is hinted at in the 2nd violin/viola in the second fast section of II and is directly quoted again during III and XII. The theme of the fast section of IV is taken up again in VIII; IX reverts to the mood of the opening of I, while the rising scale/syncopated themes of II, IX and the bass of X and XII are related. X also reintroduces the slow harmonics theme from VII. XII is (apparently) cast in the form of a baroque French rondeau. The main theme of VI was plucked out of the Quartet and used in my score for Christopher Hampton?s film Carrington. Duration 40 minutes. A set of parts is available for sale.

SEK 424.00
1

Hugh Wood: Symphony Op.21 (Study Score)

Hugh Wood: Symphony Op.21 (Study Score)

Commissioned by the BBC. Premiere: 23 July 1982 Henry Wood Promenade Concert, Royal Albert Hall, London.The work is cast in four distinct movements, though as in Wood's violin concerto there is only one pause in the music, between the second and third; even here the break is minimised in effect by a resumption of motivic arguments. In terms both of harmonic structure and of expressive development, the four movements seem to have been conceived as a single, unified progression. While melodic and harmonic details are both derived from an intensive working of a handful of intervallic figures, in a way that owes much to his earlier serialism, Wood?s handling is here free enough to encompass a large-scale sense of tonal structure as well. Ths same tritone that inflicted so much of the melodic writing in Wood's 'cello concerto also affects the symphony. The music struggles to escape from an uncertain E/E flat area which dominates the first movement, towards an eventual unequivocal A major in the work?s final pages. Emotionally, however, this trajectory more closely resembles that of the Third Quartet - except that where the quartet opens in frozen despair, the symphony begins in tumultuous violence.

SEK 1079.00
1

Peter Maxwell Davies: Strathclyde Concerto No. 9 Score And Parts

Peter Maxwell Davies: Strathclyde Concerto No. 9 Score And Parts

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo, alto flute, cor anglais, clarinet in Eb, bass clarinet in Bb and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.

SEK 424.00
1

Kevin Volans: String Quartet No. 1 White Man Sleeps (Score)

Kevin Volans: String Quartet No. 1 White Man Sleeps (Score)

String Quartet No.1 (White Man Sleeps) was written for the Kronos Quartet and first performed by them July 1986, London.The title ?White Man Sleeps? comes from a moment in nyanga panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep ? for a minute or two.Quoting Volans:In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music; the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled ?The nyanga panpipe dance? in African Music, Vol.5, No.1 (1971)); the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself; in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist ? it is played in Western tuning, filtered, slwoed down by a few ?time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa.Duration 24 minutes. Parts available: CH61205

SEK 350.00
1

Start With A Story - Traditional Tales

Start With A Story - Traditional Tales

Children love the magic of fairy tales and folk stories. Imaginations flourish amongst the unforgettable fables of old, as their vivid cast of characters captivate and delight young audiences. Beginning with the story, Mr. Troll in Pixiewood Forest, this musical activity book and CD brings a new spin on traditional folk tales to life in your classroom through music, stories, drama and movement. Revisit old favourites such as Rumplestiltskin, Little Red Riding Hood and the Three Little Pigs as you follow Mr. Troll on his travels.Ideal for specialist and generalist Early Years teachers, Start With A Story - Traditional Tales is a rich teaching resource to inspire and inform your lesson plans. The pack contains:A specially-written song to illustrate each chapter of the storyA range of suggested activities for each chapter, with brilliant ideas for games, poems, songs, movement, drama, role-play, percussion playing and moreA CD with all the music and audio tracks to bring the story to life. All the songs are presented with a vocal demonstration and backing track.All you need is a space and a selection of simple percussion instruments!The Start With A Story... series has been specially designed by Ann Bryant for the Early Years Foundation Stage curriculum, using a story as a powerful starting point from which songs, poems and drama activities can emerge. Ann is an award-winning author of over 90 books that include children's fiction, music education resources and books about emotions, families and friendships for older children.

SEK 226.00
1

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

Helen Grime: Seven Pierrot Miniatures (Piano Score and Parts)

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures, I took the Commedia dell?arte character, Pierrot as my primary source of inspiration. Other more tenuous links to Schoenberg?s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements, whereas the Schoenberg comprises three sets of seven movements. Although there is no part for voice, I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4. Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem, but in the piece as a whole, I wanted to explore the extreme contrasts of the multi-faceted character of Pierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1, 3, 5 and 7 are closely linked, both in terms of their musical material and a sense of melancholy, dream-like quality and longing. Movements 2 and 6 are also strongly connected, with allusions to the more mischievous, violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work, juxtaposing a surreal, shimmering calm with brutal outbursts. There is never any direct repetition, yet there is a strong sense of material returning and mutating as the work unfolds.InstrumentationFlute, doubling piccoloClarinet in Bb, doubling Bass Clarinet in BbViolin, doubling ViolaCelloPiano

SEK 533.00
1

Peter Maxwell Davies: Strathclyde Concerto No. 9 (Miniature Score)

Peter Maxwell Davies: Strathclyde Concerto No. 9 (Miniature Score)

The solo group consists of a sextet of the woodwind instruments which are normally doubled with more regular members of the orchestra: these six strangers, now brought to the fore, are piccolo and alto flute, cor anglais, Eb and bass clarinets and contrabassoon. They make a motley group, diverse in colour as in register, and one of the tasks of the piece sets itself is to have them blend and cohere, both together as an ensemble and in partnership with the string orchestra (which itself is used with unusual variety and subtlety). Another evident task of the work is to provide fine solos for each member of the woodwind sextet: bright dances for the piccolo, recitatives for the alto flute, a stoical song from the contrabassoon in the extreme bass. The work is cast as a single movement, which begins in the composer's first-movement style of rapid regeneration. This is interrupted by slow interventions, including one for divided strings which gives rise to a sextuple cadenza for the soloists. Out of this comes a slow movement, or sequence of short slow movements, followed by a dancing finale with its own slow episodes. Altogether this is music of songs and dances, heavily tinged with Scottish rhythms and tonalities: one might think of a magic bagpipe, having six chanters and a drone of variegated string texture.This work for woodwind instruments and string orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the ninth of ten concerti to be written for principal players of the Scottish Chamber Orchestra. The first performance was given in February 1995 by the Scottish Chamber Orchestra, conducted by the composer.

SEK 385.00
1

John Harle: City Solstice - A Song For London Bridge (Saxophone Part)

John Harle: City Solstice - A Song For London Bridge (Saxophone Part)

City Solstice was commissioned by The City of London Corporation for The City of London Festival 2009, and is dedicated, with thanks, to Ian Ritchie.Instrumentations - Choir, Organ, (available separatly) Soprano SaxophoneDuration - 18 minutesFirst performance - 22nd June 2009 at Southwark Cathedral.Performed by The Choir of King's College, Cambridgeconducted by Stephen Cleobury, with John Harle (Soprano Saxophone).Programme NoteCity Solstice celebrates the 800th anniversary of the construction of various bridges  on the site of the current London Bridge. The difficulty of erecting sturdy  constructions on this bend in the Thames, where the currents are particularly  strong, has led to a rich seam of stories about the bridges, passed on through  history, myth and folklore.What are thought to be the original words of 'London  Bridge is falling down' carry much of the references to materials used in building the original bridges - wood  and stone, gravel and stone, and then later, iron and steel. The lines my fair lady,  dance over my lady lea (or lee) and with a gay lady, are thought to refer to Matilda of  Scotland (c.1080- 1118), consort of Henry I, and who was responsible for  building the series of bridges that carried the London to Colchester road across the River Lea.King (Saint) Olaf II of Norway figures prominently in the destruction of the bridge  after its occupation by the Danes around 1013. Coming to the assistance of Aethelred, Olaf is thought to have pulled the bridge down into the Thames, along  with its occupying Danes, rather than fight on the bridge itself. There is a line in the  Norse saga The Heimskringla that refers to London Bridge being broken down.John Harle and Tom PickardJohn Harle and Tom Pickard have collaborated  previously on two projects. Their folkopera The Ballad of Jamie Allan was commissioned by The Sage, Gateshead for their opening season, and was  performed by Omar Ebrahim, Sarah-Jane Morris, Kathryn Tickell and the Northen Sinfonia, conducted by John Harle. Prior to that they met as musical and literary advisors to Sir Paul McCartney at the early compositional stages of McCartney's oratorio Standing Stone.

SEK 286.00
1

John Harle: City Solstice - A Song For London Bridge

John Harle: City Solstice - A Song For London Bridge

City Solstice was commissioned by The City of London Corporation for The City of London Festival 2009, and is dedicated, with thanks, to Ian Ritchie.Instrumentations - Choir, Organ, Soprano SaxophoneDuration - 18 minutesFirst performance - 22nd June 2009 at Southwark Cathedral.Performed by The Choir of King's College, Cambridgeconducted by Stephen Cleobury, with John Harle (Soprano Saxophone).Programme NoteCity Solstice celebrates the 800th anniversary of the construction of various bridges  on the site of the current London Bridge. The difficulty of erecting sturdy  constructions on this bend in the Thames, where the currents are particularly  strong, has led to a rich seam of stories about the bridges, passed on through  history, myth and folklore.What are thought to be the original words of 'London  Bridge is falling down' carry much of the references to materials used in building the original bridges - wood  and stone, gravel and stone, and then later, iron and steel. The lines my fair lady,  dance over my lady lea (or lee) and with a gay lady, are thought to refer to Matilda of  Scotland (c.1080- 1118), consort of Henry I, and who was responsible for  building the series of bridges that carried the London to Colchester road across the River Lea.King (Saint) Olaf II of Norway figures prominently in the destruction of the bridge  after its occupation by the Danes around 1013. Coming to the assistance of Aethelred, Olaf is thought to have pulled the bridge down into the Thames, along  with its occupying Danes, rather than fight on the bridge itself. There is a line in the  Norse saga The Heimskringla that refers to London Bridge being broken down.John Harle and Tom PickardJohn Harle and Tom Pickard have collaborated  previously on two projects. Their folkopera The Ballad of Jamie Allan was commissioned by The Sage, Gateshead for their opening season, and was  performed by Omar Ebrahim, Sarah-Jane Morris, Kathryn Tickell and the Northen Sinfonia, conducted by John Harle. Prior to that they met as musical and literary advisors to Sir Paul McCartney at the early compositional stages of McCartney's oratorio Standing Stone.

SEK 137.00
1