Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Salmer Og Aandelige Sange ias a collection of Sacred Songs And Hymns by early 20th Century Danish composer Carl Nielsen who is one of the most important and free-spirited of the generation of composers who straddle the 19th and 20th centuries. If Nielsen's chamber and orchestral music epitomizes the exploratory growth-orientated side of his nature his songs contain the essence of his search for the ‘simple original’. Arranged for Piano Vocal and Guitar.

Sources for this revised edition were Berstein's pencil manuscripts of the Clarinet and Piano score and also the separate Clarinet part. Every detail of the sonata has been carefully prepared and reconsidered. The result is a fresh look at one of the most important and beloved pieces of twentieth century Clarinet repertoire.Includes a companion CD of recorded full performances and Piano accompaniment.

Par . Terri Lyne Carrington, Founder and Artistic Director of the Berklee Institute of Jazz and Gender Justice, has curated a wide range of jazz compositions written by women composers, from obscure to popular, historic to current, blues to be bebop, and beyond in this important collection. These compositions are supplementary and alternatives to the jazz standard canon that has served students, teachers and professionals throughout the development of jazz music. The compositions span nearly a century, including Lil Hardin Armstrong's work from 1922 to songs written in 2021 by recent Institute graduates. It features 101 compositions from a remarkable range of acknowledged titans, young visionaries and unsung heroes in jazz: Mary Lou Williams, Alice Coltrane, esperanza spalding, Geri Allen, Maria Schneider, Cecile McLorin Salvant, Cassandra Wilson, Dianne Reeves, Dorothy Ashby, Nubya Garcia, Nicole Mitchell and many others. The book includes a 1922 piece by the influential Lil Hardin Armstrong and songs written in 2021 by emerging artists from Carrington's Berklee Institute of Jazz and Gender Justice. New Standards also celebrates the global world of jazz, from Chilean tenor saxophonist Melissa Aldana to Japanese American pianist Toshiko Akiyoshi and other international composers. / Date parution : 2022-12-12/ Recueil / Tout Instrument

An Oscar-winning lyricist and Songwriters Hall of Famer Yip Harburg collaborated with the finest composers of the 20th century. Featured here are nearly three dozen of his most beloved songs including: April in Paris ?Brother Can You Spare a Dime' ? How Are Things in Glocca Morra ? It's Only a Paper Moon ? Old Devil Moon ? Over the Rainbow ? We're Off to See the Wizard ? and more. Features great photos and anintroduction/career retrospective by Stephen Holden.

Anna R. Matthews writes: 'Frederick Niven's poem tells the story of Christmas in 1914. On Christmas Day a truce was spontaneously enacted by the two sides fighting in Flanders in World War One. This was five months into the war which until this point many in Britain had confidently believed would be over by that time. When the two sides lay down their weapons in the name of humanity and met in the middle of no-man's-land they would not have realised the bloodshed that was to come as the war dragged on for a further four years - a conflict so atrocious that it came to be known as 'the war to end all wars'.This carol conveys the unknowing innocence of thosemen and the joy of Christmas yet explores the sinister context in which they met and the future which was to come. Ultimately the events of the 1914 Christmas truce came to symbolise the universality of hope and peace at Christmas. This carol brings this message into the twenty-first century.' Anna R. Matthews is a composer living in Exeter England. Born in Devon Anna studied music at Durham University where she was awarded the Rosalind Dickinson Prize. She enjoys working with some of today's most talented and creative ensembles: from Psappha to EXAUDI and from cathedral choirs to youth ensembles. Her music has been broadcast on BBC Radio 3 and she has been a featured new music composer in Choir & Organ magazine. Anna was a finalist in the 2011 King James Bible Composition Awards and is a 2013/24 Arts Council England fellow on the Clore Leadership Programme. She is also a fellow of the Royal Society of Arts.

For Henle's Urtext edition of the Clarinet Sonata op. 167 they were able to consult the autograph for the first time. 'At the moment I am putting my last ounce of energy into giving seldom considered instruments an opportunityto be heard' Saint-Saëns wrote to a friend in April of the year he died. A sonata for oboe one for clarinet and one for bassoon were thus composed; yet he was not to hear the premieres. As far as form and infl ection areconcerned the three wind sonatas op. 166 - 168 hark back to the gallant style of the 18th century and thus approach the neoclassicism movement around 1920. Humour wit and fine irony characterise these works for wind.

This collection of 15 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn?s recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer.
The pieces chart the musical development of Howells, from his earliest known work The Arab?s Song, written when he was 16, to the Petrus Suite, completed in his 80s, as well as demonstrating his fascination with French music (Phantasy, Harlequin Dreaming) and the Tudor period (Pavane and Galliard).
The volume also includes the moving tribute to his friend and fellow composer Finzi: his rest. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well to as anyone seeking fresh and distinctive piano repertoire. / Partitions classique / Piano - instruments à clavier / Piano / NOVELLO

Quartet in C Minor is in four movements with a total duration of about 25 minutes. The opening Allegro is Dvorák-ish in its lyricism though there is a darker more brooding atmosphere towards the close. It is tempting to detect a hint of folk-song in the theme of the Andantino played by the Viola but that may be stretching hindsight too far. The movement has a wistful melancholy that carries over into the following Intermezzo a song-like episode containing some of the most virtuosic writing in the work. The last movement is a theme and six variations with a fugal ending. The theme is ballad-like with a suggestion of 18th-century elegance. Modality creeps into thesecond Adagio variation and there is rhythmic exhilaration in the succeeding Presto. What can be admired in this attractive quartet is its conciseness. This String Quartet was his first major composition of any kind.

Programme Note This short one-movement quartet is a kind of modernization of the 14th century French motets a cadeau to this weird and fantastic music whose abstract and almost deprecatory introvert expression appears unaccountably modern and incredibly ancient at the same time. MOTET is a sober cool treatise on rhythm and statics depicted in a Gothic crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys’ choir monks’ processions and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today. Poul Ruders 1979

An album of solos with Piano accompaniment in a variety of twentieth century classical and jazzy styles by Adam Gorb Stephen Dodgson Edward Gregson Chris Hazell and Gordon Lewin. Each piece has been especially composed to be appropriate to the grade of the instrumentalist.

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and

Par BARTOK BELA. Béla Bartók’s “For Children” is one of the best known pedagogical works for piano teachers of the twentieth century, second only perhaps to the same composer’s “Mikrokosmos”. It was based firmly on the huge number of folk songs he collected, recorded and studied with his colleague Zoltán Kodály. At the time, Bartók was offering something very new to piano teachers and their students. Siegfried Steinkogler became acquainted with “For Children” at the beginning of his guitar studies and, from them, learnt a great deal about melody and harmonisation. He has chosen 38 of the original 79 pieces to offer in arrangements for the guitar. They are presented with helpful fingerings, technical solutions and aids to familiarize the younger students with common notations. For beginners, ten of the pieces are played exclusively in the first position before a gently increasing level of difficulty helps the player broaden their skills. In these arrangements, Bartók’s ingenious teaching pieces will be as invaluable to guitarists as they have been to your pianists for over one hundred years./ Répertoire / 2 Guitares

Masterpieces of the 20th century arranged for piano solo, including Barber's 'Adagio For Strings' and Holst's 'Venus' from The Planets. / Piano

This single-movement for String quartet employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. It is a fascinating sidelight into the work of one of the 20th centuryâ??s most brilliant composers.Bernard Herrmann was among the greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composer created soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had along and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.