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John McCabe: Sonata After William Byrd's 'Haec Dies' For Trumpet And Piano

John McCabe: Sonata After William Byrd's 'Haec Dies' For Trumpet And Piano

This Sonata, by John McCabe , was commissioned by Simon Debruslais, and derives its underlying material from William Byrd?s motet 'Haec Dies' from his 1591 collection of Cantiones Sacrae. An outline of the motet is ?hidden? within the texture of the music, but never stated directly. The Sonata employs that beautiful instrument the Flugelhorn (beloved of Vaughan Williams and Miles Davis) for the first two main sections, switching to D Trumpet (familiar from Baroque music) for the final part, which is faster than the earlier ones. The first section is moderately-paced and obsessively circles around particular intervals, notably parallel or near-parallel fifths (possibly my revenge on the academic world). The middle part of the work is slow, framed by very brief scherzando trio-like sections. The piece lasts about 17 minutes.

SEK 325.00
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The Beach Boys: In My Room (SATB/Piano)

The Beach Boys: In My Room (SATB/Piano)

With their iconic layered harmonies, the music of The Beach Boys is ideal for choirs seeking vivid pop melodies and rich textures. This arrangement of In My Room for SATB chorus with piano accompaniment is a gentle, lilting piece featuring an a cappella middle section that offers a key change and some pleasant dramatic contrast.A wonderful Choral Pop for choruses looking to add a tender, calming new piece to their repertoire, the soft piano backing and four vocal parts that move along in a parallel motion adds to the piece?s dreamy, lullaby feel.

SEK 87.00
1

John McCabe: Esperanza for Organ

John McCabe: Esperanza for Organ

Commissioned for the 26th International Organ Festival at St Albans 2011 and funded by the RVW Trust.Duration: 7.45Performance notesRegistration: the performer is free to determine the entire registration scheme except at bar 60 where a solo reed is mandatory.Pitch: manual passages at bars 25, 32, 38 are written for a solo 4' stop (s). The Pedal is at 16' (ad lib 32') unless otherwise indicated (bars 31, 37 where a solo 8' is required).III - Sw.II - Gt.I - Pos/ChComposer's noteEsperanza is named after Camp Esperanza (Camp Hope), the location of the mission to rescue the thirty-three miners trapped underground for seventy days in 2010 at the San Jose Mine in Chile, a rescue that was televised live and was one of the most moving, and inspiring, things I have ever seen. By the most extraordinary coincidence, I had already done a good deal of sketching for this Organ piece before this all happened and had determined on a 'darkness-to-light' kind of piece - so the coincidence, as well as my feelings of elation, were both too strong to ignore.The piece persues a course from a fairly knotty slow beginning (heralded by a few chords that recur at the very end), full of rising themes (another coincidence - the material had already been sketched before the miners were trapped underground), and reaching a loud climax, the quick, toccata-like second section bursting vigourously out of the tension which is created at the beginning of the work.

SEK 236.00
1

Tom Recknell: My God, Why Hast Thou Forsaken Me?

Tom Recknell: My God, Why Hast Thou Forsaken Me?

For mixed SATB chorus, unaccompanied. Includes a Piano part on the score for rehearsal purposes only.'My God, why hast thou forsaken me?' was originally written in the summer of 2006 on a course run by the National Youth Orchestra of Great Britain. It was first performed by the choir of Eton College directed by Ralph Allwood. This motet intends to capture the anguish of Jesus? final moments on the cross. The opening bars attempt to convey the horrific pain, sorrow and tragedy that these words and the climactic moment of Christ's crucifixion mean to Christians worldwide. It is also a human sentiment echoed every day by the needy, regardless of their religious views. The piece ends with a repetition of the opening phrase, followed by a blossoming 'Amen'. This expressive conclusion hints at a glimmer of hope, although the final chord is left unresolved; resolution, though suggested, is not obtained.

SEK 102.00
1

Grayston Ives: Susanni (Novello New Choral Series)

Grayston Ives: Susanni (Novello New Choral Series)

The text of Susanni is a translation of Martin Luther?s hymn of 1535, Vom Himmel hoch. The music is based loosely upon the well-known chorale melody, which, at times, is quoted in full in both voices and organ. Except where indicated, singers should adopt a legato style, especially in the repeated quaver patterns. In the bars which appear to be in compound time, conductors should beat in crotchets.An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Bill Ives has spent his life in choral music ? as a singer, conductor, teacher and composer (writing as Grayston Ives). He was a chorister at Ely Cathedral and later studied music at Cambridge, taking composition lessons with Richard Rodney Bennett. After Cambridge he sang in Guildford Cathedral Choir before joining the King?s Singers, with whom he recorded and performed worldwide.For eighteen years he directed the Choir of Magdalen College, Oxford. During his tenure the choir earned a Grammy nomination for a disc of music by Orlando Gibbons, and gave the première of Paul McCartney?s Ecce Cor Meum, written especially for them. In 2008 his work as a composer and conductor of church music was recognised with the award of a Lambeth DMus and a Fellowship of the Royal School of Church Music.

SEK 87.00
1

Zachary Wadsworth: O Saving Victim (Novello New Choral Series)

Zachary Wadsworth: O Saving Victim (Novello New Choral Series)

An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles.O Saving Victim was completed on 16th March, 2003, and was premiered by the choir of St Mary's Church, Goochland, VA, directed by Hope Armstrong Erb.The solo lines in this piece should blend with the rest of the chorus as much as possible. In large choirs, the solo lines in bars 21-22 and 26-30 may be sung by a pair or small group of people to preserve balance. This does not apply to the unaccompanied solos in bar 30-35.Zachary Wadsworth's 'vivid, vital, and prisimatic' music has established him as one of the leading composers of his generation, especially among those writing vocal, choral and operatic works. As winner of the 2011 King James Bible Composition Award, Wadsworth's anthem Out of the South Cometh the Whirlwind was performed by the choir of Westminster Abbey in the presence of Queen Elizabeth II. Other recent honours include awards from the American Academy of Arts and Letters, ASCAP, and the American Composers Forum, and performances by the Washington National Opera Chorus, Boston Metro Opera, Long Leaf Opera, the Buffalo Philharmonic Orchestra, and the Atlanta Philharmonic Orchestra. Wadsworth's music is widely broadcast and distributed, with a recent commission from Choir and Organ magazine, and frequent airings on the BBC, NPR and CBC.

SEK 83.00
1

E.J. Moeran: The North Sea Ground

E.J. Moeran: The North Sea Ground

This edition of The North Sea Ground is dedicated to the memory of Gordon Cumming, the former secretary of the Oxford and Cambridge Musical Club, whose interest in Moeran prompted the intervention that rescued the manuscript from possible destruction and ensured its preservation.Editorial NotesThe text written by Moeran in his manuscript shows some differences when compared with the poem as it was published in Punch magazine. Most of these are minor alterations in punctuation and word capitalization. In each case, the Punch source has been used for the performing edition.The main textual variation is Moeran?s omission of the fifth verse of the poem. There is no way to change this in the musical setting so, for completion, the verse is included in brackets in the poem text. There is one difference in the set words: the third line of verse 6 (fifth set verse) has the word sweep in the original where Moeran?s manuscript has keep. This edition replaces Moeran?s word with sweep as this is both poetically consistent and true to the original verse.Throughout the original poem many words are apostrophized: for example, lyin? for lying, an? for and, goin? for going. This usage is consistent throughout the poem with the exception of the last line of the final verse, where the word lying evokes a heightened poignancy. Moeran?s text is inconsistent and apparently random. Again, the usage in the poem has been followed for this performing edition.The musical transcription is true to Moeran?s manuscript with the exception of the addition of a number of rests that were (presumably accidentally) omitted. Some of the more extreme range notes have also been rendered more readable by the use of octave-shift notation. The ties in the piano in bars 31 and the end of 59 are editorial.AcknowledgementsI am indebted to John Talbot, former Chairman of the British Music Society, for assistance in the preparation of this performing edition and I would like to express my grateful thanks to him. I would also like to thank Professor Jeremy Dibble of Durham University for invaluable advice regarding the historical context of the manuscript.        Ian Maxwell, Music Department, University of Durham

SEK 167.00
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