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Sadie Harrison: Aurea Luce (2 x Performing Scores)

Sadie Harrison: ...Around And A Round...

Sadie Harrison: A Journey (Score/Part)

Thomas Simaku: a2 (a)

Thomas Simaku: a2 (a)

For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice, 3 May 2008"This music was composed during my DAAD residency in Berlin in October ? November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'."a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers."This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracing the wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'."In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2."As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice."

SEK 217.00
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Ed Hughes: CUCKMERE - A Portrait (Score)

Anthony Gilbert: On Beholding A Rainbow

Sadie Harrison: A Not-So-Sonatine (Score/Parts)

A Hymn to the Thames

A Hymn to the Thames

A Hymn to the Thames was commissioned by James Turnbull and the Music Director of the St Paul’s Sinfonia, Andrew Morley. It was begun in 2019 and completed early in 2020. There are four movements played without a break, which follow the Thames from its Cotswold source to the North Sea. As the first performance took place in St ALfege’s Church, Greenwich, this seemed appropriate. The solo oboe represents both a wanderer along the river path and the spirit of the river. The pitch centres of the movements spell out the musical letters of the river (tHAmES—B natural, A, E and E flat) so that the river’s name is projected across the whole work. In addition, the musical letters found in James Turnbull, Andrew Morley and my wife, Teresa Cahill ( who was born in Maidenhead and brought up by the river in Rotherhithe) are entwined in various guises. The first movement grows from the depths, the soloist entering with fanfare-like gestures, followed by lyrical music and breaks into a dance as the river gathers momentum. The third movement is slow and sustained and geographically the Thames flows through Oxford. The music is based on the well-known In Nomine ‘head motif’ from the Gloria tibi Trinitas Mass by the early Tudor composer, John Taverner, who was the first Director of Music at Christ Church, Oxford. The orchestra provides a screen or veil above which the solo oboe dreams and ruminates. This leads directly into the fourth and final movement which begins in the depths once more, interrupting the oboe’s held note from the end of the third movement. The waters’ increasing intensity and power are represented throughout by a moto perpetuo of quick, steady semiquavers. Near the close, the woodwind play O Nata Lux by Thomas Tallis, the great Tudor composer who, with his wife Joan, is buried in St Alfege’s. Beneath this, the lower strings continue the fast semiquaver movement of the river and, above, the violins are heard as a halo of harmonics. At the close, the oboe rises, opening out to the future, and celebrating its voyage, while the orchestra fades as the river meets the sea. A Hymn to the Thames lasts approximately 17 minutes.

SEK 271.00
1

Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes: A Time For Singing (Performing Score And Parts)

Ed Hughes ' A Time For Singing for Clarinet, Cello and Piano. Score and parts. ' My sister, the clarinettist Alison Hughes, is a member of the Camilleri Trio who gave the first performance. The work was conceived in memory of our aunt, Gillian Nicholls. The four movements are: 1. Walk with rainstorm 2. Song 3. Scherzo 4. Until the day break It is a kind of narrative - in one sense an imagined walk through a changing landscape. A very English one, in other words one in which it rains! But sometimes lit up by sunshine. It remembers Gillie Nicholls, who loved walking and loved life. She died from cancer in 2010. I wanted to write a piece that would remember her and her wonderful enthusiasm and sense of humour, as well as forming a more traditional lament. So there are elements of each in this piece. Gillie was also a profoundly spiritual person. When she and John Muddiman married in 2010 they asked me to write a short song for the wedding, 'Rise Up, My Love', using words from 'Song of Solomon'. The new work for the Camilleri Trio, commissioned by Jennifer Hughes in memory of her sister Gillian Nicholls, also refers in the main title, and in the last movement title, to lines from 'Song of Solomon': the time of the singing of birds is come - Song of Solomon 2:12 Until the day break, and the shadows flee away - Song of Solomon 2:17 A Time for Singing was written for the Camilleri Trio - Alison Hughes (clarinet/bass clarinet), Anja Inge (cello), Joanne Camilleri (piano). It was first performed by them at Mansfield Chapel, Mansfield College, Oxford, on 30 October 2011. ' - Ed Hughes

SEK 355.00
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