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The Machine Age : A Set of Short Piano Pieces for our Time

Aus Der Heimat

One of the most important Czechoslovakian composers, Bedrich Smetana, was at the forefront of Bohemia’s movement toward musical nationalism. This piece, Aus Der Heimat (From the Native Country), harks back to andcelebrates his nationalistic pride and patriotism. A superb chamber work for Violin and Piano.

Salutation

Salutation was originally composed for a cappella choir to a poem by Bengali poet and musician Rabindranath Tagore (1861–1941). The music takes up the spiritual message of the poem, that we live our lives in one salutation to God ending back in an eternal home. Phillip Littlemore's brilliant arrangement for concert band adds a work of great contemplative beauty to the repertoire.

Salutation

Salutation was originally composed for a cappella choir to a poem by Bengali poet and musician Rabindranath Tagore (1861–1941). The music takes up the spiritual message of the poem, that we live our lives in one salutation to God ending back in an eternal home. Phillip Littlemore's brilliant arrangement for concert band adds a work of great contemplative beauty to the repertoire.

Noster Nostri

Commissioned by Jo McNally for the 2016 AMIS European Middle School Honor Boys Choir Festival at Frankfurt International School. Noster Nostri explores the idea of the past and the present, as seen from a male perspective — that of son, brother,father. It looks back through history, adopting a melodic and harmonic style that could have been written over a century ago.

The GCSE Composition Course: Teachers Book

The GCSE Composition Course comprises a Teachers Book and four themed 'Project Books', providing everything needed to manage a successful GCSE Composition programme across the examination boards. The Teachers Book contains:An outline of the content of each project book. Introductions and checklist reminders for each project. Back-up guides to supervising and completing the projects. A selection of 'Kick-Start' ideas - short, quickexercises to get composing activities up and running. Integrating listening, performing and improvising activities. Notes on ancillary activities: evaluation, working to a brief and keeping a log.Teaching-pointguidance and suggestions for classroom and project management.

Piano Sonata A major K331 : K331

New edition based on the recently-discovered partial autograph from Országos Széchényi Könyvtár Budapest.This new Urtext edition of Mozart’s Piano Sonata in A major K331 (300i),with the famous final Rondo ‘Alla turca’, draws on a recently-discovered autograph source to create a version which has substantial differences – particularly in the six variations and the Menuetto – toearlier editions.In the preface, the editor, Klaus Burmeister, considers this new edition within the history (dating back to 1784) of printed editions of the sonata, particularly at Edition Peters. The editor alsopaysparticularly attention to the specific use of articulation marks, as Mozart learned to use them from his father Leopold.

Arion and the Dolphin

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to bebringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At the end of his song, he jumps overboard, and one of thedolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In RobertGraves’account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after hisrescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  Thisis one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to writea choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create anatmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, hadsuggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldlyquality of this

24 Preludes And Fugues Op.87

Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have severalfundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascendingsemi-tonalorder of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this orderwould have a sort of subliminal narrative sub-text, taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally,Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal inlanguage — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is awork which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century. Volume 2 comprises numbers13-24.

24 Preludes And Fugues Op.87 - Book 1

Just back from a trip to Leipzig in the early autumn of 1950 where he heard Bach's Well-Tempered Klavier at the Bicentennial Bach Competition played by the Russian pianist Tatiana Nikolaeva, Shostakovich began his own series of24 Preludes and Fugues, Op. 87, based on Bach's model. He composed them quickly, starting on October 10, 1950, and finishing on February 23, 1951. While his work would pay homage to Bach, Shostakovich's work would have severalfundamental differences. First, the order of the individual pieces would be organized around the circle of fifths with a prelude and fugue in the relative minor following each major key piece rather than in ascendingsemi-tonalorder of Bach's work. Second, Shostakovich's pieces would be composed in order — that is, C major - A minor followed by G major - E minor followed by D major - B minor — and, more significantly, this orderwould have a sort of subliminal narrative sub-text, taking the music from the 'innocent' tonal world of the C major Prelude and Fugue to the profound and sublime severity of the concluding D minor Prelude and Fugue. Finally,Shostakovich's work, although conservative in its counterpoint and harmony — that is, there are no examples of invertible or reversible themes or counterpoint and the pieces are for the most part recognizably tonal inlanguage — is still clearly the work of a modernist composer; his counterpoint and harmony may be conservative but the emotional and spiritual worlds of the preludes and fugues is at once sincere and ironic. The result is awork which can not only stand comparison with Bach's Well-Tempered Klavier, it is both Shostakovich's masterpiece for the piano and one of the contrapuntal masterpieces of the twentieth century. Volume 1 comprises numbers1-12.