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John Tavener: In Memory

John Tavener: In Memory

In Memory was written in memory of Glen Schaefer, and all the departed souls of America. The words come from the Orthodox Funeral Service and from a text by Mother Thekla. For SATB Choir A Cappella. John Tavener: The music should be sung with a shining solemnity, and should ideally be performed in a church or other building with reverberant acoustics. The solo bass sections refer to St Hermann of Alaska (the pre-eminent Orthodox saint of the Americas) and should be performed in the manner of a Byzantine pasltis.

SEK 102.00
1

Karen Tanaka: Always In My Heart

Karen Tanaka: Always In My Heart

For Clarinet and Piano.Quoting Karen Tanaka: Always in My Heart was commissioned by the Japanese clarinetist, Yuji Murai. He told me he liked my piece for harpsichord, Jardin des herbes. In that piece I tried to create the fragrance of aromatic herbs with sound. Murai asked me to write something sweet and similar to Jardin des herbes for his clarinet. Always in My Heart comprises of three pieces: Letter to you, Tears in the rain and Always in my heart. It was first performed in Tokyo on 26 October 26 1999.

SEK 236.00
1

Moeran: Rhapsody In F Sharp (Miniature Score)

Moeran: Rhapsody In F Sharp (Miniature Score)

Rhapsody in F Sharp for Piano and Orchestra was commissioned by the BBC Proms and first performed in the Royal Albert Hall on August 19th, 1943. Written with the wartime audience in mind, it is unashamedly popular in style, with its flashy virtuosity making it immediately accessible and entertaining. There is argument among scholars as to whether it should be referred to in the Major or Minor key, as it makes almost equal use of both, starting in one and finishing in the other. Ernest J Moeran (1894-1950) was an English composer, who followed the tradition of R. Vaughan Williams and John Ireland by collecting, preserving, and using many folk songs, mainly from Norfolk, Suffolk, and Ireland.

SEK 177.00
1

Benjamin Britten: Jubilate Deo In C

Benjamin Britten: Jubilate Deo In C

Britten's Jubilate is written for SATB choir and Organ accompaniment.Benjamin Britten's birthday (22nd November 1913, Lowestoft) falls on St. Cecilia's Day, a happy augury for the career of one of Britain's greatest composers. Essentially a vocal composer, Britten won international fame for his operas and song-cycles. He never abandoned the principles of tonality and was a 'modern' composer who reached a mass audience and a conservative whose originality no radical would sensibly deny. He shared with his predecessors Parry, Vaughan Williams, and Holst an intense interest in works for amateurs and children. His brilliant gifts as a pianist and conductor, coupled with his virtuosic inventiveness, also led him to compose music for great performers such as the cellist Mstislav Rostropovich and the singers Galina Vishnevskaya, Dietrich Fischer-Dieskau, and Janet Baker.The greatest personal influence on his music was the Tenor Peter Pears, for whom he composed many operatic and vocal roles. In 1948 Britten, Pears and Eric Crozier founded the Aldeburgh Festival, now one of the most respected established for new English music. In 1952 he was made a Companion of Honour, in 1965 received the Order of Merit, and in 1976, the year of his death, he became the first composer to receive a life peerage.Oxford University Press was Britten's first publisher. In the early 1930s A Boy Was Born and the Simple Symphony brought him great critical acclaim and launched his compositional career. Oxford is delighted to present some previously unpublished pieces in collaboration with the Britten Estate. These include the Double Concerto for Violin and Viola, premiered at Snape by the Britten-Pears Orchestra under Kent Nagano in June 1997; Two Portraits for String Orchestra premiered on BBC Radio 3 in December 1995 by the Northern Sinfonia under Martyn Brabbins; The World Of The Spirit, the full version first performed in 1938 on the BBC Home Service, the abridged version in December 1995; and the King Arthur Suite for Orchestra premiered at Snape in 1995 by the Royal Academy of Music Symphony Orchestra under Lutz Köhler.

SEK 107.00
1

E.J. Moeran: Rhapsody In F Sharp (Two Pianos)

E.J. Moeran: Rhapsody In F Sharp (Two Pianos)

Rhapsody in F Sharp was commissioned by the BBC Proms and first performed in the Royal Albert Hall on August 19th, 1943. Written for solo Piano with Orchestra accompaniment, it has been arranged here for two Pianos. Written with the wartime audience in mind, it is unashamedly popular in style, with a flashy virtuosity making it immediately accessible and entertaining. There is argument among scholars as to whether it should be referred to in the Major or Minor key, as it makes almost equal use of both, starting in one and finishing in the other. Ernest J Moeran (1894-1950) was an English composer, who followed the tradition of R. Vaughan Williams and John Ireland by collecting, preserving, and using many folk songs, mainly from Norfolk, Suffolk, and Ireland.

SEK 315.00
1

Benjamin Britten: Te Deum In C (SATB/Orchestra)

Benjamin Britten: Te Deum In C (SATB/Orchestra)

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C, it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings, something Britten was later very fussy about, but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes, for example, which Britten failed to notice on proof, and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues and bar numbers, for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task, for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56, where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version, but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing, while the spacing of chords is frequently much wider in the string version, with melodies transposed into different octaves. Although harmony in both versions is identical, voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned.So, although in essence the two versions are the same, the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work, like many of his choral pieces from the 1930s and 1940s, it is equally at home in church and concert hall.

SEK 385.00
1