Nexus

SKU: CL.011-4940-01

This inspired piece of music will bring an excitement and spark to your next concert as an opener or a celebratory closer. Written with education in mind, this selection will awaken your developing bands’ curiosity around 6/8- and 3/4-time and relationships. Driving percussion propels this work forward with excitement. Packed with teachable moments, fun to play, and exciting to listen to, Nexus Fanfare really connects!

SKU: CL.011-4940-00

This inspired piece of music will bring an excitement and spark to your next concert as an opener or a celebratory closer. Written with education in mind, this selection will awaken your developing bands’ curiosity around 6/8- and 3/4-time and relationships. Driving percussion propels this work forward with excitement. Packed with teachable moments, fun to play, and exciting to listen to, Nexus Fanfare really connects!

SKU: BO.B.3472

ISBN 9788480208130.

Engl ish comments: The Requiem in memory of Salvador Espriu by Xavier Benguerel was commissioned by the Torroella de Montgri International Music Festival for a double commemoration: on the one hand, to celebrate the tenth anniversary of the Festival, and on the other, in remembrance of Catalan poet Salvador Espriu in the fifth year after his death. This concert, which was held on 5 October, was a brilliant closing gala performance and it was repeated twice on 6 and 7 October at the Palau de la Musica Catalana in Barcelona. It was performed by the Orchestra and Choir of the Gran Teatro del Liceo, with soloists Enriqueta Tarres, soprano; Nelibel Martinez, mezzo soprano; Eduard Gimenez, tenor; and Carlos Chausson, baritone, with the additional collaboration of baritone Lluis Llach, conducted by Romano Gandolfi.

In my opinion, this work by Benguerel is a piece that was written with passion and sincerity, with great strength and depth, and it contains some very beautiful passages. It is written in a language through which, without abandoning his current musical thoughts, Benguerel manages to communicate with the audience in a dense work that lasts for an hour and a half. It is interspersed with seven poems by Espriu on the subject of death, some sung and others recited, which gives the Requiem great contrasts from a musical and linguistic point of view -in comparison with the Latin texts normally used in a requiem mass-, but within a successful and coherent unity. The performers certainly proved their worth, but much of the hard work that went into preparing the piece can be attributed not only to the performers, the composer and the poet in tribute to whom the work was written, but also to the conductor Romano Gandolfi, who is largely responsible for the success of the three performances of this Requiem. Benguerel himself says of the work: This Requiem is linked to my previous work, the Llibre Vermell, and it has been written without making any concessions, but with a true wish to communicate with the audience. I've got past the stage of musical experiments and I'm now working on bridging the gap between composer and audience, which I'm sure will be good for both.
--Comments written by Jordi Codina in the December 1990 issue of Nexus magazine

Comentario s del Espanol: El Requiem a la memoria de Salvador Espriu de Xavier Benguerel ha sido compuesto por encargo del Festival Internacional de Musica de Torroella de Montgri para una doble conmemoracion: por una parte, el decimo aniversario del Festival; por otra, el recuerdo de la figura del poeta catalan Salvador Espriu en el quinto ano de su fallecimiento. Este concierto, celebrado el dia 5 de octubre, constituyo una sesion de gala y de clausura brillante y tuvo una doble repeticion los dias 6 y 7en el Palau de la Musica Catalana de Barcelona. Fueron sus interpretes la Orquesta y el Coro del Gran Teatro del Liceo, con los solistas vocales Enriqueta Tarres, soprano; Nelibel Martinez, mezzo; Eduard Gimenez, tenor; y Carlos Chausson, baritono, con la colaboracion del tambien baritono Lluis Llach. Todos bajo la direccion de Romano Gandolfi.

A mi entender, la obra de Benguerel es una partitura escrita con pasion y sinceridad, posee una gran solidez, es profunda y contiene pasajes de una gran belleza. Esta escrita en un lenguaje con el que Benguerel, sin renunciar a su actual pensamiento musical, alcanza la comunicacion con el publico en una obra densa que dura una hora y media. La intercalacion de siete poemas de Espriu relacionados con el tema de la muerte, en una interpretacion cantada o recitada, segun los casos, otorga al Requiem grandes contrastes desde un punto de vista musical y lingŸistico Ð en contraposicion con los textos latinos propios de una misa de requiem Ð, pero dentro de una unidad conseguida y coherente. La labor de los interpretes demostro su categoria y el trabajo exhaustivo en la preparacion de la obra, que, ademas de los interpretes, el compositor y el poeta homenajeado, tuvo otro gran protagonista en la persona del director Romano Gandolfi, a quien se debe una gran parte del exito obtenido en las tres audiciones de este Requiem. El propio Benguerel ha dicho de la obra: Este Requiem entronca con mi obra anterior, el Llibre Vermell, y ha sido escrito sin concesiones, pero con una voluntad real de comunicacion con el publico. La epoca de los experimentos musicales ya se me paso y he entrado en una nueva etapa de acercamiento entre el compositor y el publico que, estoy convencido, beneficiara a ambos.
--Comentario escrito por Jordi Codina en la revista Nexus en diciembre de 1990

SKU: PR.44641192L

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

SKU: HL.48015039

UPC: 073999866452.

Flute Solo.

SKU: HL.367285

ISBN 9781705139011. UPC: 840126965513. 9.0x12.0x0.813 inches.

Commissione d by the Metropolitan Opera. Loosely inspired by a true case that happened in the North of England a few years ago, Nico Muhly's opera enters the secret world of the teenage bedroom and explores on the realities and risks of living our lives online. A teenage boy is fatally stabbed. Another boy is caught on CCTV leaving the scene. An open-and-shut-case, it would seem. But, as the Detective Inspector Anne Strawson investigates the older boy's story, she uncovers a bizarre nexus of chatroom meetings, false identities, fictitious spy rings and raunchy cybersex, leading to just one conclusion: it wasn't so much murder as suicide by internet.

SKU: SU.27050080

Flute & Piano Duration: 10' Composed: 1993 Published by: Distributed Composer.

SKU: CL.011-4940-75

SKU: HL.50603780

ISBN 9781705139004. UPC: 840126965506. 10.5x14.0x0.771 inches.

Commissione d by the Metropolitan Opera. Loosely inspired by a true case that happened in the North of England a few years ago, Nico Muhly's opera enters the secret world of the teenage bedroom and explores on the realities and risks of living our lives online. A teenage boy is fatally stabbed. Another boy is caught on CCTV leaving the scene. An open-and-shut-case, it would seem. But, as the Detective Inspector Anne Strawson investigates the older boy's story, she uncovers a bizarre nexus of chatroom meetings, false identities, fictitious spy rings and raunchy cybersex, leading to just one conclusion: it wasn't so much murder as suicide by internet.

SKU: HL.48015040

UPC: 073999681352.

Flute with other Instruments.

SKU: SU.50009180

Published by: Seesaw Music.

SKU: PE.0989253017

ISBN 9780989253017. UPC: 038081470153. English.

No Beethoven chronicles the life and times of drummer Peter Erskine, with the legendary band Weather Report being the nexus to this first-hand account. Erskine was in the midst of the modern American jazz music scene as it underwent its most dynamic change. Peter Erskine is a musician of his times with incredibly rich stories to tell in this autobiography. Including never-before published photographs.

No Beethoven includes chapters dedicated to Weather Report and the musicians Joe Zawinul, Jaco Pastorius, and Wayne Shorter, plus the bands Steps Ahead, Steely Dan, and artists such as Elvin Jones, Joni Mitchell, Freddie Hubbard, Diana Krall, Steve Gadd, producer Manfred Eicher, composers John Williams, and Mark-Anthony Turnage, et al. The book provides a revealing look at the creative process involved in performing music on-stage and in the recording studio, as well as a behind-the-scenes look at how the musical instrument industry operates.

This is a book for all musicians and fans of music. As famed drummer and Rush founder Neil Peart writes: No Beethoven is among the best musical autobiographies I have read. Peter's story is absorbing and compelling, full of well-drawn characters and incidents both humorous and serious. It flows with the same ease and naturalness as his drumming, and under that good-humored gloss, it conveys the same profundity of experience and ideas. This book should be read not only by every drummer, but by every musician. Even amateurs of music performance will find it entertaining and worthwhile.

SKU: LM.24687

ISBN 9790230946872.

SKU: HL.49020486