SKU: BP.BP2168
Printed product. A beautiful, compelling piano accompaniment begins this tender setting of the Robert Browning text. Quiet, conditional statements become a profession of faith as they open into the power of the promise that the everlasting arms my life surround. Perfect for the time of confession and assurance of pardon. Now available arranged for SSAA and TTBB.
SKU: BP.BP1659
UPC: 74876901659.
Printed product. Craig Courtney's beautiful piano accompaniment begins this tender anthem that is almost lullaby like. The quiet and intimate vocal parts eventually open to a powerful climax that is sure to offer a moving musical experience for both your choir and congregation. Text by Robert Browning.
SKU: MA.EMR-58133
SKU: EC.1.3646
UPC: 600313136467. English.
An ethereal, deeply moving piece that begins in Latin and moves to an English text about our individual choices and decisions. The option of handpan gives a unique effect. Instrumental Parts include: Handpan, Electric Guitar and Piano (Piano part differs when performing with these instruments).
SKU: MN.50-8004
UPC: 688670580048.
This Good Friday anthem was written in 1997 for a large festival choir, though it can be used effectively with small choirs as well. The poignant and little-known text was written in 1975 by Eliza Sibbald Alderson, sister of the celebrated minister and composer John Bacchus Dykes. Like many of her hymns and poetry this text was written at her brother's request, and reflects on the sufferings of Christ. The music begins in solemn fashion and incorporates a great range of emotion. Well-written.
SKU: LO.15-3873H
ISBN 9780787774493.
A lovely poem about the quiet of winter and the changing of the seasons rings with sentimentality. The delicate and picturesque music was written in memory of the text writer, Clarence Drummond, a friend of composer Stan Pethel. In a gentle flowing 6/8, this piece is sure to bring warmth and heart to your winter concert.
SKU: CF.BPS134F
ISBN 9781491158272. UPC: 680160916870. 9 x 12 inches.
QuA(c) verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holidayas most beloved symbols: the Christmas tree. In QuA(c) verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of QuA(c) verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the gA 1/4 iro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.Que verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday's most beloved symbols: the Christmas tree. In Que verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated. This arrangement of Que verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the guiro part, the quarter notes should be scraped and the eighth notes tapped. The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it. The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.Qué verdes son is the Spanish-language version of O Tannenbaum (O Christmas Tree). Although the Christmas carol is sung in many languages, the translated lyrics are rarely a close copy of the original German text. Instead, each version finds unique ways to explore the beauty and meaning of one of the holiday’s most beloved symbols: the Christmas tree. In Qué verdes son, the beautiful lights, fresh aroma, and especially the lovely color of the tree are celebrated.This arrangement of Qué verdes son begins with simmering Latin percussion playing a groove based on a 3-2 son clave. Subdividing this in groups of eighth notes (123-123-1234-12-12-12) will help lock in the time. In the güiro part, the quarter notes should be scraped and the eighth notes tapped.The main melody begins at m. 5. Rather than needing to be overly loud, much of the energy comes from the silences between notes and from the contrast between accents and staccatos. The woodwind countermelody at m. 9 and m. 17 should be smooth and sweet, a further contrast to the punchy rhythms beneath it.The percussion section is featured at m. 26, with a gradual buildup of textures and rhythmic energy. At m. 38 the whole band is back in, driving toward the fun cha-cha-cha ending.
SKU: CF.BPS134
ISBN 9781491158265. UPC: 680160916863. 9 x 12 inches.
SKU: PE.EP14445
ISBN 9790014135041. 297 x 420 mm inches. German.
ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.
Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.
Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.
In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).
Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.
In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!
Bernd Franke. Leipzig, 11.10.2019
for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.
AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:
Every flame, every fire, every light, every warmth is AGNI.
AGNI is omnipresent, establishing everything and ending everything.
AGNI is often depicted with seven tongues which represent different aspects of his being.
These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.
Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.
This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.
Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.
The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.
Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.
Score and horn part.
Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.
Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.
to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.
Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.
This product consists of score and parts.
A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.
for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.
for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.
for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).
for SAATB unaccompanied. This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.
Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.
Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.
But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.
I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.
The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.
The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.
It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.
Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.
The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.
The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.
Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.
First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.
Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times
SKU: CF.YAS178F
ISBN 9781491151808. UPC: 680160909308. 9 x 12 inches.
The title of this piece,?Le Printemps,?is French for the springtime. This piece brings images of springtime to the listener's mind. ?The rhythmic pattern that begins in the bass and works its way up to the violins illustrates the patter of raindrops or of flowers bursting into bloom. The beautiful melodies in the piece engage players and audiences.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listeners mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 2528, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le PrintempsA is French for athe springtime.a This piece is meant to bring images of springtime to the listeneras mind. A The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25a28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. A Enjoy Le Printemps!.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le Printemps is French for the springtime. This piece is meant to bring images of springtime to the listener's mind. The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit. The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25-28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments. At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note. Enjoy Le Printemps!.The title Le Printemps is French for “the springtime.†This piece is meant to bring images of springtime to the listener’s mind.  The rhythmic pattern that begins in the bass and works its way up through the sections to the violins could be the patter of raindrops, or indicative of flowers pushing their way up through the ground and bursting into bloom. All the instruments that have the staccato notes are the backup; the instruments who have the slurred notes are playing the melody in these sections and should bring the melody out a little bit.The middle section is a little softer (mp) and more legato, and could bring to mind a lovely, warm breeze that is gently moving across the new, green grass and the budding leaves of the trees. It should be played with tenderness and feeling, paying careful attention to the crescendo in mm. 25–28, building up to the mf. In m. 34, make the most of the poco rall. as you prepare to reiterate the staccato portion that begins again in m. 35. Again, the moving parts here with the slurs have the melody and should not be overwhelmed by the staccato instruments.At m. 55 should begin to build slightly into the crescendo at m. 57 and really build that up through beat 3 of m. 58. At m. 59, be suddenly very soft to begin the final ascent into the climactic ending. Build steadily through the last four measures and give a good solid bowing of your last note.  Enjoy Le Printemps!
SKU: CF.YAS178
ISBN 9781491151433. UPC: 680160908936. 9 x 12 inches. Key: D major.