Full performance materials available on rental from Boosey & Hawkes.
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HPS 815
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Philharmonia PH 463
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This 28-minute, single-movement work for large orchestra was commissioned by the BBC for the BBC Symphony Orchestra, who first performed the work in 2003 in the Barbican Hall, London, under Jukka-Pekka Saraste. At the time, the London Independent commented, Lindberg, in his mid-forties, has come of age: this is a piece on another level with extraordinary confidence, boldness of gesture and an architectural logic that makes it immediately familiar. Palpable was the enjoyment of the players (and the audience).
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(2003)
Fire and Blood is a concerto for violin and orchestra inspired by Diego Rivera's famous murals entitled Detroit Industry at the Detroit Institute of Arts. Rivera's murals, which were commissioned by Edsel Ford in 1932 to represent the automobile industry of Detroit, were painted in fresco on four large walls of an interior court of the museum. Rivera thought them to be the best work of his career, and himself predicted the possibility of turning his murals into music: “In my ears, I heard the wonderful symphony which came from his factories where metals were shaped into tools for men's service. It was a new music, waiting for the composer. . .to give it communicable form.” Duration - ca. 25:00
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A musical autobiography, this work is an homage to the influence of Ives' music on the composer. In three movements: I. Concord, II. The Lake, III. The Mountain. 28 minutes.
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Gorecki completed the short score for the symphony in 2006, and played it for his son on the piano that summer, commenting on many details. It fell to the son to complete the orchestration following his father's death in 2010. The impetus for the work came from the director of the Tansman Festival, birthplace of the naturalised French composer Alexandre Tansman.
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Unlike MacMillan's first three symphonies, Symphony No. 4 (2014-15) is essentially abstract. Here he is interested in the interplay of different types of material, following upon a fascination with music as ritual that has stretched from Monteverdi in the early 17th century through to Boulez and Birtwistle in the present day. There are four distinct archetypes in this work, which can be viewed as rituals of movement, exhortation, petition and joy. It is also a homage to Robert Carver (c1487-after 1566), the most important Scottish composer of the High Renaissance. There are allusions to Carver's 10-voice Mass Dum sacrum mysterium embedded in the symphony, and at a number of points it emerges from across the centuries in a more discernible form: the vocal lines are muted and muffled, literally in the distance, as they are played delicately by the back desks of the violas, cellos and double basses. Suitable for advanced standard performers.
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First publication of the orchestral cycle Songs of Travel, setting poems of Robert Louis Stevenson. Three of the nine orchestrations are by the composer, dating from 1905; the remainder were scored by his assistant Roy Douglas in 1960, two years after the composer's death. Among the latter was the hitherto lost epilogue “I have trod the upward and the downward path.” In his memoir Working with Vaughan Williams Douglas wondered: “Should I score them in my own style (the answer was clearly no), in the style of the orchestrations he had made in 1905, or in the way he might have scored them in 1958 (which would have been vastly different)? The final result was a typically British compromise, but I took care to use in my scoring only those instruments which he had used in 1905.”
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Scored for chorus, children's choir, organ and chamber orchestra, St. Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery.
The Passion narrative is framed by a Prelude exploring the Annunciation and a Postlude taking us beyond the Crucifixion to the Resurrection and Ascension. These incorporate Gospel texts where Luke explains the Kingdom of God.
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Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra, it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements, Stabat Mater has a duration of 53 minutes. Following the première London's Financial Times commented that the composer “speaks of a 'painful world of loss, violence, and spiritual desolation'. Both sides of MacMillan are to be found here, the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble.”
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This publication presents under one cover various short works for sundry orchestral scorings. Larghetto for Orchestra is MacMillan's orchestration (2017) of his celebrated Miserere for a cappella mixed choir (2009), a setting in Latin of Psalm 51, 'Have mercy upon me, O God, according to thy great mercy', the penitential text famously set in the 17th century by Gregorio Allegri. The Larghetto orchestration was commissioned by the Pittsburgh Symphony Orchestra in celebration of Manfred Honeck's 10th Anniversary as Music Director.
Mémoire impériale is one of a number of variations on General John Reids march tune Old Gaul commissioned from Scottish composers to mark the centenary in 1994 of the Faculty of Music at Edinburgh University. The Faculty was established following a bequest by General Reid (1721-1807), a former law student at the University and a renowned flute player and composer of marches for the BritishArmy, and he asked that an annual concert be organised at which one or more of his compositions be played.
Composed in 2012 for the Britten Sinfonia, One is a monody in which a single line is passed around the instruments, painting it with different colours as it emerges and develops. Lasting only a few minutes, its singularity is maintained until blossoming in the lastfew bars.
For Sonny (2011, orch 2013) and Ein Lämplein verlosch (2018, orch 2019) are short, private memorial tributes originally for string quartet and here rescored for string orchestra.
Hirta was composed in 2016 as part of Deccas The Lost Songs of St Kilda project. Nearly a century ago, the last 36 residents were evacuated from the most remote part of the British Isles, St Kilda, an isolated archipelago off the beautiful and rugged western coast of Scotland. After 86 years, the music of St Kilda was rediscovered, recorded in a Scottish care home by Trevor Morrison, an elderly man who had been taught piano by an inhabitant of St Kilda. The songs were 'reimagined' for the Decca album by various
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Composed to commission by the BBC Symphony Orchestra, the Los Angeles Philharmonic Orchestra, Symphony Australia and the Sydney Symphony Orchestra in 2005, this work was first performed that year at Barbican Hall, London, with the composer as soloist. Brett Dean comments that “it was a unique privilege and challenge to have the opportunity to approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces.” The opening Fragment serves as a brief introductory satellite of serenity before the orchestra tumbles into the longer second movement, Pursuit. As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra. The piece closes with Veiled and Mysterious, an extended elegy in which the viola sings an unfolding Klagelied over icy sonorities of solo celli and bowed percussion, and then develops in intensity, to emerge in a large scale tutti section eventally leading to a peaceful, if ambivalent conclusion.
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Flute, oboe, clarinet, trumpet, horn, bass clarinet, and bassoon.
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Vorwort/Preface • I. Allegro con brio • II. Andante con moto • III. Allegro • IV. Allegro
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