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Kevin Volans: 1000 Bars (Short Version)

Kevin Volans: 1000 Bars (Short Version)

For Violin, Cello and Piano Duet.In the past composers wrote 'pieces' of music. More important pieces were called'works'. Nowadays, however, most composers write minutes. Phone up any professional composer and ask how'r'ya doing? and nine out of ten will say something like: "Terrible/ awful ? I've only written 4 (or ?..) minutes and I have to write ? minutes!"We're all commissioned to write minutes - like so many feet of wallpaper. Imagine this:" We loved your Jupiter Symphony Mr. Mozart, but it's 3 minutes less than we commissioned."Fortunately most composers cheat a bit, and most commissioners don't sit with stopwatches in their hands.1000 bars is not 1000 bars long. I stopped when the piece was finished. However it did turn out to be exactly 4'33" in duration.What the piece itself is about has nothing to do with its title or length. - Kevin Volans

SEK 509.00
1

Kevin Volans: 1000 Bars (Long Version)

Kevin Volans: 1000 Bars (Long Version)

For Violin, Cello and Piano Duet.In the past composers wrote 'pieces' of music. More important pieces were called'works'. Nowadays, however, most composers write minutes. Phone up any professional composer and ask how'r'ya doing? and nine out of ten will say something like: "Terrible/ awful ? I've only written 4 (or ?..) minutes and I have to write ? minutes!"We're all commissioned to write minutes - like so many feet of wallpaper. Imagine this:" We loved your Jupiter Symphony Mr. Mozart, but it's 3 minutes less than we commissioned."Fortunately most composers cheat a bit, and most commissioners don't sit with stopwatches in their hands.1000 bars is not 1000 bars long. I stopped when the piece was finished. However it did turn out to be exactly 4'33" in duration.What the piece itself is about has nothing to do with its title or length. - Kevin Volans

SEK 608.00
1

Peter Maxwell Davies: Seven Summer Songs Chime Bars Part

Peter Maxwell Davies: Seven Summer Songs Chime Bars Part

A superb cycle of 7 songs depicting the hero's stay on Grandma's farm somewhere in the Orkneys one summer. The songs tell of the farm chores, nature and ghosts and are arranged for unison voices, piano, recorders and pitched or unpitched percussion. The songs can be used individually to link in with topic work or performed as an attractive concert item. Chime Bars part.This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

SEK 167.00
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Peter Maxwell Davies: A Selkie Tale Glockenspiel And Chime Bars Part

Peter Maxwell Davies: A Selkie Tale Glockenspiel And Chime Bars Part

A Selkie Tale is a short music-theatre work (duration about 25 minutes) designed for performance by seven- to eleven-year-olds year olds. Four solo roles and several separate chorus groups give scope for the participation of a large number of children of all ability levels.The story is a humorous version of the Orkney folk-tale of an islander kidnapping a Selkie wife - a creature who is a seal in the sea and a woman on the land. Things go hilariously wrong, with the Selkie wife escaping to rejoin her companions in the sea, and Mansie, the islander, facing a most uncongenial alliance with his cousin and housekeeper, Miss Trowie-Tattibogle.Glockenspiel and chime bars part.This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

SEK 167.00
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Judith Weir: Sundew

Judith Weir: Sundew

Judith Weir 's Sundew for Violin and Cello. Score. ’ The bog-based Sundew Plant isn’t as pleasant as the name suggests. It produces beads of fluid, resembling dew, but in fact a sticky deposit in which visiting insects become trapped. The plant closes in on the insect and digests it for the extra nutrition it needs in an acidic habitat. Each of the 36 bars can be understood as a time-lapse study of parts of this process. Often one instrument encloses and digests the music of the other. Occasionally one player tries to struggle free; at other times both exist motionless, stuck to each other. In the final bars, a lucky insect (the Violin) escapes from the goo and flies off into the ether. ’ Judith Weir

SEK 167.00
1

Brian Elias: Variations For Piano

Brian Elias: Variations For Piano

These variations are based on the concept of Beethoven's 32 variations in C Minor. In Beethoven's work, all the variations are eight bars long, without any changes in tempi or time signature. Each variation is complete in itself, but the variations are carefully grouped and juxtaposed to have a cummalitive effect. His individual variations are always very clearly connected with the original theme, both melodically and harmonically. Rather than occupying himself solely with decoration of the original melody, Beethoven's concern was with piano figuration and technique.In following the principles Beethoven created in this work, Elias has attempted to concern himself with the same preoccupations; by using clealy audible motifs that permit him to concentrate on writing for the instrument, and by using short, sharply defined phrases (always of eight bars) to build up a larger structure.

SEK 350.00
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Thea Musgrave: Marko The Miser - A Play For Children (Vocal Score)

Thea Musgrave: Marko The Miser - A Play For Children (Vocal Score)

Marko the Miser is designed the children to mime, sing and play and can be done either as a concert performance or a stage piece. The words are by the composer and Frederic Samson and are based on a story taken from the Afanasiev collection of Russian Folk Tales. The characters are Marko, a rich peasant, the Beggar, Marko?s Wife and Robbers. The instruments include glockenspiel, chime bars, recorders, clarinet, guitar, piano and a large array of percussion instruments.

SEK 325.00
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Eric Whitacre: Three Flower Songs (SATB)

Eric Whitacre: Three Flower Songs (SATB)

Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir, includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song, really. All of the musical suggestions come from a careful study of the poem, a quiet, passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction, and this mood must prevail in the performance: shy and sullen, her passion surging to the surface only to sink back into the silence that is herself.Go, Lovely RoseThe piece is structured around the cyclical life of a rose, and is connection throughout by the opening 'rose motif', a seed that begins on the tonic and grows in all directions before it blossoms, dies and grows again. Each season is represented: spring begins the piece, summer appears at bar 13, autumn at bar 26, winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfect Fibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approached with a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas, its success is guaranteed. Water: At bar 30, this ostinato should be fluid and gentle, only interrupted at bar 32 as the butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars, another patient, sensuous transformation back to fire. Fire: Everything else.

SEK 104.00
1

Hallgrimsson: Verse 1 for Flute and Cello

Hallgrimsson: Verse 1 for Flute and Cello

'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement, sectional design. Progressively faster tempi lead to the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C.Quoting composer:'In April 1975 I occupied a flat in Aldeburgh, Suffolk, near the seafront. As a member of the English Chamber Orchestra, I had come to work for a week on a recording of Britten?s opera ?Death in Venice?, so the real and suggested sound of the sea was in my ears, so to speak, for days on end. A few weeks later, when I started work on 'Verse 1', it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten?s music, but I do, however, quote a small fragment from a theme to be found in a piano quartet by Mahler, played early in the piece by the flute (bars 6 & 7).This work was awarded the First Prize in the Viotti International Competition for composers, in Italy in 1975.

SEK 196.00
1

Baba Yaga Children?s Book

Baba Yaga Children?s Book

George Odam. A musical tale for children based on an old Russian folk tale. Baba Yaga is a storybook which will delight young children whether they read it for themselves or it is read to them. Alongside the story and beautiful drawings, George Odam has written simple, attractive music for singing and performing on recorders, chime bars, cymbals and even pots and pans! Baba Yaga contains all kinds of opportunities to make music and create sound effects. First schools and adventurous playgroups will jump at the change of singing, playing and acting out the story, at the same time learning about basic musical concepts in a thoroughly enjoyable way.

SEK 276.00
1

Baba Yaga Teacher?s Book

Baba Yaga Teacher?s Book

George Odam. A musical tale for children based on an old Russian folk tale. Baba Yaga is a storybook which will delight young children whether they read it for themselves or it is read to them. Alongside the story and beautiful drawings, George Odam has written simple, attractive music for singing and performing on recorders, chime bars, cymbals and even pots and pans! Baba Yaga contains all kinds of opportunities to make music and create sound effects. First schools and adventurous playgroups will jump at the change of singing, playing and acting out the story, at the same time learning about basic musical concepts in a thoroughly enjoyable way.

SEK 276.00
1

Chester?s Music Puzzles - Set 1

Chester?s Music Puzzles - Set 1

Chester?s Music Puzzles is an entertaining series of clear and structured puzzles and questions, by Carol Barratt, designed to help young instrumentalists master the basics of musical theory. Each illustrated set of contains ten question papers, information for teacher and parents and a certificate of achievement for the pupil. These puzzles also take into account limited reading and writing skills of younger children. Each book corresponds with the matching Chester Piano Book. This is Set 1 which covers: clefs, staves, lines and spaces, musical alphabet, bars and bar lines, stems, note and rest values, tied notes, chords, flats and sharps, phrase marks and dynamics. Each book corresponds with the matching Chester Piano Book.

SEK 137.00
1

Kaija Saariaho: Ciel Etoile For Percussion And Double Bass (Score)

Kaija Saariaho: Ciel Etoile For Percussion And Double Bass (Score)

Hypnotic Ciel Étoilé – it means ‘starry sky’ in French – uses the bass as a dark night of sound dotted with pointillist percussive sounds from the cymbals and crotales. The work is written in thirty-six bars, each one a ‘star’, played very slowly and at varying speeds.Kaijai Saariaho is a contemporary Finnish composer living and working in Paris and considered to be part of the so-called ‘French Spectralist’ school of composition. Unlike many of her other works, Ciel Étoilé has no electronic extensions, but fully explores the multiple sonorities of the bass. She gained international renown for her first opera l’Amour du Loin and continues a prolific compositional life with a wide range of international performances.

SEK 157.00
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Brian Elias: Concerto For Cello And Orchestra (Score)

Brian Elias: Concerto For Cello And Orchestra (Score)

The Cello Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the fi rst few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section, an allegro. The form of the second section, which is in a lighter mood, is based on an early 13th century verse form, the Sestina, which consists of six stanzas of six lines each, followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give the line-endings of the remaining stanzas; in this adaptation, each “line” consists of four bars, and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a form of spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section, the final section includes a reference to the slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein.

SEK 608.00
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Michael Nyman: Time Will Pronounce For Violin, Cello And Piano

Michael Nyman: Time Will Pronounce For Violin, Cello And Piano

For violin, cello and piano'The title 'Time Will Pronounce'is taken from the last lines of Joseph Brodsky?s poem 'Bosnia Tune' which deals with the horror of the unnecessary, unacceptable daily deaths in Bosnia during 1992 (and still in 1993): ?Time, whose sharp blood-thirsty quill parts the killed from those who kill, will pronounce the latter tribe as your type?. The violin and cello are (generally) treated as a unit independent of the piano. The form (generally) alternates slow and fast tempi, without motivation. The musical ideas are (generally) carried over from section to section. (Generally) the harmonic, melodic and textual materials features third and semitones derived (generally) from the movement of the bass part in the opening bars.

SEK 385.00
1

Benjamin Britten: Love From A Stranger (Score)

Benjamin Britten: Love From A Stranger (Score)

Love from a Stranger was a 'thriller' starring Ann Harding and Basil Rathbone, based on an Agatha Christie short story, Philomel Cottage. As well as Britten's score, the film also included excerpts from Grieg's Peer Gynt music, and a contemporary dance band. Not all of the present score was used - No. 3, Brighton, was omitted and cuts were made in nos. 5 and 6. In the latter, a savage cut deleted the references to the music of the other numbers in bars 13-20, including the trombone's scale, which alludes to a scene in which a child practices the piano unseen. Britten was not happy with the way his music was used, and this was to remain his only work for the commercial cinema composed in 1936.

SEK 385.00
1

Brian Elias: String Quartet (Parts)

Brian Elias: String Quartet (Parts)

String Quartet was composed by Mumbai-born Brian Elias in 2012, and was commissioned by the Jerusalem String Quartet. Lasting around 20 minutes, this item is the Parts for the work, arranged for Violin I, Violin II, Viola and Cello. The work has been laid out in the conventional four movements, Allegro, Adagio, Presto, Adagio-Allegro-Adagio, but it is essentially a work in a single movement to be performed with no breaks. A set of double variations generates the thematic and harmonic material for the entire piece in its first few bars, with a brilliant Viola solo afterwards. Throughout the piece, changes in dynamics and tempo characterise the different movements, before finally ending with a calming return to the slow music.  You can purchase the  Full Score here.

SEK 395.00
1

Brian Elias: String Quartet (Score)

Brian Elias: String Quartet (Score)

String Quartet was composed by Mumbai-born Brian Elias in 2012, and was commissioned by the Jerusalem String Quartet. Lasting around 20 minutes, this is the full score of the work arranged for Violin I, Violin II, Viola and Cello. The work has been laid out in the conventional four movements, Allegro, Adagio, Presto, Adagio-Allegro-Adagio, but it is essentially a work in a single movement to be performed with no breaks. A set of double variations generates the thematic and harmonic material for the entire piece in its first few bars, with a brilliant Viola solo afterwards. Throughout the piece, changes in dynamics and tempo characterise the different movements, before finally ending with a calming return to the slow music.  You can purchase the individual instrument  Parts here.

SEK 335.00
1

Witold Lutoslawski: Symphonic Variations (Score)

Witold Lutoslawski: Symphonic Variations (Score)

Internationally renowned Polish composer Witold Lutoslawski created this impressive and deceptively folk-like Orchestral work when he was a very young composer and it propelled him into the first ranks of young composers in the early part of the 20th century.In recent years, Lutoslawki’s music has begun to enjoy a reassessment after a few years of recession following his death in 1994. The piece begins with suggestions of folkloric influences, but rapidly undergoes a transformation into something deeper, more meaningful and ultimately more rewarding. The Symphonic Variations is a rare survivor of Lutoslawski’s early work as Poland suffered Nazi occupation followed by decades of Soviet dominance, and the composer had to contend with survival – for a time by playing Piano with composer Andrzej Panufnik in the bars and café’s of Warsaw. He fled Warsaw in 1944 with very few scores, of which this is one.Even the graphic arrangement of the score underlines its modernity, with blank white spaces during passages of rest and large superscript time signatures, of particular value to the conductor during passages where the time changes in each bar.

SEK 325.00
1

Geoffrey Burgon: Heavenly Things for Baritone And Piano

Geoffrey Burgon: Heavenly Things for Baritone And Piano

Composer's Notes:Heavenly Things is my fourteenth song-cycle, but the first with piano accompaniment. I mention this because, when I was asked to write this piece my first reaction was ?what can I make of a medium that seems to me quintessentially 19th century? and I was doubtful that I could produce anything that I would be happy with. Then I went to hear Christopher Maltman and Malcolm Martineau and was so impressed by the magic and intensity of their performance that I saw a ?way in? to what at first had seemed a problem. The choice of poems was obviously going to be crucial, and I chose the Donne Holy Sonnets because of the dramatic possibilities they offer and the huge range of emotion that they encompass. In these settings the piano is always more than a mere accompaniment, it tends either to be in dialogue with the voice, or to have its own musical agenda which the voice reacts to in an independent but parallel way. Geoffrey Burgon

SEK 276.00
1

Michael Nyman: MGV (Musique A Grande Vitesse) - Study Score

Michael Nyman: MGV (Musique A Grande Vitesse) - Study Score

? Musique A Grande Vitesse ? ( MGV ) translates as ?high speed music? and was commissioned by the Festival de Lille for the inauguration of the TGV North European Paris-Lille line in 1993. The piece runs continuously, but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring Brass, in D flat. The topography of MGV should be experienced without reference to planning, description or timetables. The piece?s tempo changes and unpredictable slowings down bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the band (amplified in live performance) lays down the tracks on which MGV runs.

SEK 652.00
1

Michael Nyman: MGV (Musique A Grande Vitesse)- Full Score

Michael Nyman: MGV (Musique A Grande Vitesse)- Full Score

The composer writes "MGV (Musique à Grand Vitesse - High-Speed Music) was commissioned by the Festival de Lille for the inauguration of the TGV North-European line and was first performed by the Michael Nyman Band and the Orchestre national de Lille under Jean-Claude Casadesus on 26 September 1993. MGV runs continuously but was conceived as an abstract, imaginary journey; or rather five inter-connected journeys, each ending with a slow, mainly stepwise melody which is only heard in its 'genuine' form when the piece reaches its destination. The thematic 'transformation' is a key to MGV as a whole, where musical ideas- rhythmic, melodic, harmonic, motivic, textural - constantly change their identity as they pass through different musical 'environments'. For instance the opening bars establish both a recurrent rhythmic principle - 9, 11, or 13-beat rhythmic cycles heard against a regular 8 - and a harmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally, MGV begins in C and ends in E). A later scalic, syncopated figure (again first heard over C, E and A) begins the second section, featuring brass, in D flat. And so on: the topography of MGV should be experienced without reference to planning, description or timetables. Tempo changes, unpredictable slowings down, bear no logical relation to the high speed of the Paris-Lille journey, while the temptation to treat MGV as a concerto grosso, with the Michael Nyman band as the ripeno, was resisted: more suitably the Band (amplified in live performance) lays down the tracks on which MGV runs."

SEK 533.00
1