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Nico Muhly: A Good Understanding

Nico Muhly: A Good Understanding

A Good Understanding displays Muhly?s early Choral influences from his years as a boy chorister, alternating thrilling Organ passages with contemplative sections that demand quite a lot of all the performers.Contemporary American composer Nico Muhly is a prolific writer and arranger who, at 32, is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas, and many solo pieces and works for small ensemble, Orchestra, and Chorus and he has collaborated widely.

SEK 107.00
1

Nico Muhly: My Days (Parts)

Nico Muhly: My Days (Parts)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Parts for five Viols. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

SEK 276.00
1

Nico Muhly: My Days (Full Score)

Nico Muhly: My Days (Full Score)

Nico Muhly 's My Days for ATTB choir and five Viola Da Gambas. Full score. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012. ' My Days is a ritualised memory piece about Orlando Gibbons (1583-1625), written for two ensembles whose recordings informed so much of my musical development. I feel like I spend half of my life trying to trick string players to play like Fretwork, and vocalists to singlike the Hilliard Ensemble, so it was with enormous pleasure that I composed this piece. The text is derived from Psalm 39, which Gibbons himself set, as well as an account of Gibbons's own autopsy, which is a poignant 17th century semi-anonymous text. One of the most thrilling things about the sound of five violas da gamba playing together is the sense of their phrasing being derived from vocal music, but made, somehow, electric and ecstatic through ornamentation and the friction of the strings. The piece has an idée fixe based on a minor scale with two possible resolutions, and many ornaments. In between iterations, the voices, in rhythmic unison, intone the psalm. It isn't until the autopsy text arrives that the voices begin to split into more elaborate, ‘Gibbonsy’ verses and responses. A series of semiimprovisedfragments on the text "Take thy plague away from me" introduces the third section of the piece, where plucked strings create a halo around the text, "hear my prayer, OLord." The piece ends with the ornaments, wildly exploded, over the voices singing two words, endlessly repeated. ' - Nico Muhly

SEK 196.00
1

Nico Muhly: Moving Parts (Score/Parts)

Nico Muhly: Moving Parts (Score/Parts)

Composer's note:'Moving Parts is the music for Benjamin Millepied?s ballet of the same name. Scored for Violin, Clarinet and Pipe Organ, the piece is a series of rhythmic etudes. The slow movement is a very slow passacaglia, with, I hope, unexpected lyrical melodies in the violin. After an extended Organ toccata built over a drone, a brief slow movement creates a natural midpoint. The violin, aggressively plucking, builds up to form a canon with a clarinet, and after a loud outburst from the organ, the piece ends quietly. Moving Parts, written in 2012, is dedicated to Benjamin and the Los Angeles Dance Project. 

SEK 385.00
1

Nico Muhly: Pulses, Cycles, Clouds

Nico Muhly: Pulses, Cycles, Clouds

Nico Muhly 's Pulses, Cycles, Clouds for large mixed Percussion ensemble was written for the 50th anniversary of the Boston University Tanglewood Institute. At its core, it is a group of four marimbas, surrounded by various bells and other mallet instruments; unpitched instruments here are primarily played by an ensemble of amateur percussionists. The piece obsesses over a cycle of eleven chords, introduced slowly through the beginning of the piece. Each chord is announced by a large vertical moment with bells, vibraphone, and a sudden shift in tonality. The four marimbas then relax into a series of soft interlocking patterns, over which an ensemble of glockenspiels and crotales plays a simple rhythm in a complex relationship to the other instruments. Eventually, the pulse disintegrates entirely, into a vision of a night sky; insects, unexpected interruptions - a walk around a quiet landscape. Eventually, the pulse returns, but nocturnally subdued. The piece is meant to echo, in its way, the thrill of community music making, the joy of sharing a pulse, and the various connections both rhythmic and interpersonal I made at BUTI two decades ago. - Nico Muhly

SEK 315.00
1

Nico Muhly: Common Ground

Nico Muhly: Common Ground

Commissioned for the Claremont Trio by Robert and Jane Morse for the world premiere performance October 30, 2008. Score and parts for Piano Trio (Violin, Cello and Piano). Common Ground employs three different repetitive techniques. The first third of the piece is a cycle of chords of expanding and contracting length, with the violin and cello trading agitated little lines. The second is a pastoral obsession over essentially one chord: light changing over a field. Here, the cello leads, and the violin and piano offer insect-like interruptions. After a metronomic interlude and a free-form interlude, the piano begins stating a ground bass -- a repetitive line around which the harmonies constantly shift. This sort of thing pops up in Purcell, where I first encountered it as a choirboy. The piece ends with a hyperactive recapitulation and is approximately nine minutes long. - Nico Muhly

SEK 325.00
1

Nico Muhly: Three Songs (For Tenor, Violin And Drone)

Nico Muhly: Three Songs (For Tenor, Violin And Drone)

Three Songs was expertly composed by Nico Muhly . There is a two-note drone that sounds throughout this piece?s 15-minute duration. In the first part of the songs, the Tenor and the Violin exchange lyrical and declamatory statements. The second part is a song without words: a sort of dance for solo Violin. The third part has the Violin intoning a pair of notes while the tenor sings, in essence, a list. The work was commissioned by violinist Tatiana Berman on French surrealist poems of her choosing, and was premiered at the Constella Festival in Cincinnati in 2012.

SEK 196.00
1

Nico Muhly: Sentences (Vocal Score)

Nico Muhly: Sentences (Vocal Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

SEK 325.00
1

Nico Muhly: Sentences (Full Score)

Nico Muhly: Sentences (Full Score)

Nico Muhly's  Sentences  for Countertenor and Chamber Orchestra. Composed: 2014 Duration: 30 minutes Composers Note: Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes. I’ve always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned — did it arrive or did it not? —, or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication. 

SEK 652.00
1