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Evis Sammoutis: Ξυλογραφίες – Xylographies (Large Ensemble Score)

Evis Sammoutis: Ξυλογραφίες – Xylographies (Large Ensemble Score)

Evis Sammoutis ' Ξυλογραφίες – Xylographies for large ensemble. Flute (=Piccolo=Alto Flute), Oboe (=English Horn), Clarinet in B flat (=Bass Clarinet), Bassoon, Horn, Trumpet in B flat, Tenor trombone, Percussion (one player: 2 Timpani, 4 Woodblocks, 2 Bongos, Tam-tam, Wind Chimes, Snare Drum, 2 Suspended Cymbals, Vibraphone and Crotales (extension of vibraphone)), Piano, Violin I, Violin II, Viola, Violoncello, Double bass (five strings). Written for Klangforum Wien. Duration: 9'

SEK 313.00
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Anthony Gilbert: Hope's Place (Score)

Anthony Gilbert: Hope's Place (Score)

Hope's Place by Anthony Gilbert. 18'18"; for septet of 4 Wind and String trio. Chamber concertino for Flute doubling Alto Flute; Oboe doubling Oboe d'amore; Clarinet in Bb doubling either Bass Clarinet in Bb & Clarinet in A, or Basset Clarinet in A with extension to low written C; Bassoon; Violin; Viola; Cello. Commissioned for Clark Rundell and Ensemble 10/10. First performance by Ensemble 10/10, dir. Clark Rundell,at The Cornerstone, Liverpool Hope University,on 16th October 2013.

SEK 368.00
1

Luís Tinoco: Lídia (Score)

Luís Tinoco: Lídia (Score)

Luís Tinoco 's Lídia for 16 musicians. Score. This work was commissioned by the Companhia Nacional de Bailado for “Lídia” – a ballet with choreography by Paulo Ribeiro. It was first performed by Lisbon Metropolitan Orchestra soloists, conducted by Pedro Neves – Teatro Camões in Lisbon, 7th of November 2014. Instrumentation: Flute (= Piccolo), Oboe (= Cor Anglais),2 Clarinets in Bb (2nd = Bass clarinet), Bassoon (= Contrabassoon), Horn in F, Trumpet in Bb (= Flugelhorn), Trombone, 2 Percussionists, Harp, 2 Violins, Viola, Violoncello and Contrabass (with C extension).

SEK 699.00
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Ed Hughes: Night Music

Ed Hughes: Night Music

For solo Piano, flexibly scored Ensemble and live electronics. Composed and published 2015.Duration: 15'. Night Music is the second instalment in a cycle of works called collectively 'Shadows of Destruction'. The cycle responds to images drawn from collections in the Imperial War Museum, with a particular focus on the effects of the aerial campaign in World War II as recorded by RAF cameras. The work is in three parts: Part 1 - 'Flowing' Part 2 - 'Machine song' Part 3 - 'Night toccata' Premiere: 12 February 2015, Brighton Science Festival ('Music for Curious Minds' series), All Saints Church, Hove, by Joseph Houston (Piano) and University of Sussex Symphony Orchestra. Commissioned by Norman Jacobs, artistic director of Music Of Our Time, with funding support from The RVW Trust.

SEK 230.00
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James Weeks: Ave Maris Stella

James Weeks: Ave Maris Stella

Composer's Note: I first made an arrangement of this famous plainchant melody (‘Hail, Star of the Sea’) for a school choir to sing on tour in St Mark’s, Venice; fourteen years later I decided to come back to it as an equally apt choice for Orkney’s great medieval cathedral. A little like Monteverdi’s setting in his 1610 Vespers, the six verses alternate between choral presentations of the plainchant and more soloistic verse sections, with static organ interludes representing the distant clarity of the Star of the Sea, which is the North Star, Polaris.

SEK 62.00
1

Laurence Roman: Columba Canticles (Performing Score)

Laurence Roman: Columba Canticles (Performing Score)

Laurence Roman 's Columba Canticles was composed in 2013 for Narrator, SATB Chorus, Uilleann pipes, Harp and String Orchestra. This reduction is for Narrator, SATB Choir and Piano. Duration: 41 minutes I. Kyrie – The Choir Vestry II. Gloria in Excelsis III. The Chapter House IV. The Nave – The Bell Tower V. Sanctus VI. Sunday School – Agnus Dei ' Columba Canticles seeks to explore the medium and tradition of devotional music in a fresh and contemporary way. All the movements embrace the convention of including a cantus firmus or plainsong. Several of these Gregorian chants date back to the 9th Century and have, ever since, provided the creative backbone to a vast body of ecclesiastical music. In Columba Canticles , whenever you hear something sung in Latin, you can be sure that somewhere in the background there also hovers one of these ancient chants.' - laurenceroman.com

SEK 561.00
1

Martin Scheuregger: The Four Last Things

Martin Scheuregger: The Four Last Things

The Four Last Things for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’, a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail, immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece, but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance, but even whilst providing more of an accompanying role, they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

SEK 161.00
1

Martin Scheuregger: The Four Last Things

Martin Scheuregger: The Four Last Things

The Four Last Things for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’, a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail, immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece, but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance, but even whilst providing more of an accompanying role, they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

SEK 244.00
1

Evis Sammoutis: Engravings (A4 Study Score)

Evis Sammoutis: Engravings (A4 Study Score)

Engravings for Large Ensemble: i) Chalcography ii) Pantograph / Etching iii) Xylography / Lithography Engravings was composed for the Ensemble Modern as part of the 2013 International Ensemble Modern Academy and it is dedicated in admiration to this iconic group of soloists. Whilst many art forms largely depend on space, music has a thrilling relationship with time. Time serves as a canvas for composers, and compositions can in many ways also be described as sculpted time. Ancient Greeks had two words for time, Chronos (time in the traditional sense) and Kairos (the opportune moment). The former is quantitative and the latter, qualitative. This distinction is very important as we live our lives in chronos but experience most of the important events of our lives in kairos. For me, the art of music composition highlights this relationship; whereas music cannot exist without chronos, it is the kairos that makes it worthwhile—the pursuit of supreme moments. As an art form, engraving is very lengthy and painstakingly process-driven, not unlike composing, and techniques, instruments and types of engraving directly inspired this three-movement composition. At times, the inspiration lies in the engraved artefact itself. At others, I am interested in the technical process or the instruments utilized. Methods of production depend on the materials used: Chalcography, xylography and lithography are engravings on copper, wood and stone, respectively, and these are represented both literally and conceptually by the ensemble, either in colour or scope. Pantograph is an engraving machine based on parallelograms where the movement of one point in tracing an image is produced identically in other points, and etching refers to the method of making prints from a metal plate. Whilst beauty is found in the finished engraving, there are also moments of beauty in the process of creation itself. Therefore, Engravings uses this art form to explore both the uniqueness of these concepts but also how they merge during the creative process. Engravings has been composed with the intention of becoming an evening length piece in the future. Therefore, the composition at this time, point and format can also serve as a consummation for the envisaged sound world, gesture, scope and vision. Duration: c. 17 minutes

SEK 341.00
1

Evis Sammoutis: Engravings (A3 Conductor's Score)

Evis Sammoutis: Engravings (A3 Conductor's Score)

Engravings for Large Ensemble: i) Chalcography ii) Pantograph / Etching iii) Xylography / Lithography Engravings was composed for the Ensemble Modern as part of the 2013 International Ensemble Modern Academy and it is dedicated in admiration to this iconic group of soloists. Whilst many art forms largely depend on space, music has a thrilling relationship with time. Time serves as a canvas for composers, and compositions can in many ways also be described as sculpted time. Ancient Greeks had two words for time, Chronos (time in the traditional sense) and Kairos (the opportune moment). The former is quantitative and the latter, qualitative. This distinction is very important as we live our lives in chronos but experience most of the important events of our lives in kairos. For me, the art of music composition highlights this relationship; whereas music cannot exist without chronos, it is the kairos that makes it worthwhile—the pursuit of supreme moments. As an art form, engraving is very lengthy and painstakingly process-driven, not unlike composing, and techniques, instruments and types of engraving directly inspired this three-movement composition. At times, the inspiration lies in the engraved artefact itself. At others, I am interested in the technical process or the instruments utilized. Methods of production depend on the materials used: Chalcography, xylography and lithography are engravings on copper, wood and stone, respectively, and these are represented both literally and conceptually by the ensemble, either in colour or scope. Pantograph is an engraving machine based on parallelograms where the movement of one point in tracing an image is produced identically in other points, and etching refers to the method of making prints from a metal plate. Whilst beauty is found in the finished engraving, there are also moments of beauty in the process of creation itself. Therefore, Engravings uses this art form to explore both the uniqueness of these concepts but also how they merge during the creative process. Engravings has been composed with the intention of becoming an evening length piece in the future. Therefore, the composition at this time, point and format can also serve as a consummation for the envisaged sound world, gesture, scope and vision. Duration: c. 17 minutes

SEK 341.00
1

On Track - 13 Ensemble Works For Key Stage 4

On Track - 13 Ensemble Works For Key Stage 4

13 specially commissioned pieces which aim to breathe new life into a largely neglected component of the GCSE/Key Stage 4 Music syllabus, Ensemble Performance.On Track comes complete with a CD-Rom containing all the parts for all the pieces and transpositions for any instrument, and these parts come with a licence for printing as many copies as needed, directly from the CD-Rom. The CD also contains recordings of every piece. The book contains scores for each piece and extended notes by the composers to aid in the preparation of the music; there are 5 pieces for fixed ensembles and 8 pieces for flexible ensembles.The editor of the compilation, Sadie Harrison, comments:"Playing in an ensemble with one's peers is perhaps the most rewarding and satisfying thing to do as a young performer, and it is crucial to nurture this element of GCSE courses to reflect this. On Track is a fantastic collection of many different styles, approaches and sounds. There is something in here for everybody, at whatever level, and on whatever instrument. This is what GCSE Music teachers are crying out for, and finally here is something that really hits the mark."Harrison's comments are echoed by recent examiners' reports from EdExcel, one of the largest examiners of GCSE music. They describe how the music they heard in examinations demonstrated 'an extreme range of standards and revealed evidence of the very wide range of instruments in use'. The AQA (Assessment and Qualification Alliance) Examiners' report in 2004 warns schools against allowing their students to present solo music with a piano accompaniment played by a teacher or with a CD accompaniment for the ensemble performance component. It continues, saying that "it is of utmost importance that the chosen ensemble allows the candidate to show rapport with the other player(s). This is a significant requirement with which many [examination] centres did NOT comply."On Track comes complete with a CD-Rom containing all the parts for all the pieces and transpositions for any instrument, and these parts come with a licence for printing as many copies as needed, directly from the CD-Rom. The CD also contains recordings of every piece. The book contains scores for each piece and extended notes by the composers to aid in the preparation of the music; there are 5 pieces for fixed ensembles and 8 pieces for flexible ensembles.Fixed EnsemblesSadie Harrison ? On the run!for clarinet in Bb, violin, 'cello, pianoEd Hughes ? Matthew's Mazurkafor piano duetJeremy Dale Roberts ? 'Takes three...' for trumpet, 'cello, pianoMatthew Roddie ? Gone Clubbin' for violin, 'celloThomas Simaku ? From Across the Sea for 2 flutes, clarinet in BbFlexible EnsemblesDavid Blake ? Piece for Luis and Justin for four instrumentsAnthony Gilbert ? U-GO for Arirang for four instrumentsJo Kondo ? A Birthday Toast for any number of instrumentsDavid Lumsdaine ? A tree dances for Orpheus for three instrumentsPaul Mealor ? Swing Slow for two instrumentsRobert Saxton ? There and Back for three instrumentsJohn Stringer ? Duo for two instrumentsLuís Tinoco ? Diversion for four instruments

SEK 313.00
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