Chamber Music For 13 Players

James Weeks' Olympic Frieze for any number of pitched instruments (minimum 12).Composed and published 2014. Variable duration. First performed by participants at CoMA Summer School High Melton Doncaster on 21st August 2014. Olympic Frieze is conceived like an Ancient Greek frieze around the entablature of a temple: players should be placed along the walls of the performance space at regular intervals like figures in a bas-relief. Like visitors to a temple or museum the audience should be free to wander through the space and out again as desired and there should be no audible starting or stopping point - ideallythe music should be playing before the first audience member enters and continue after the last audience member leaves. Thus the piece functions as part of the decoration of the room and might be considered a descendant of Satie's musique d'ameublement; the difference being that Olympic Frieze is not intended as background music but to draw the listener's attention. It is also fundamentally audio-visual in nature. The piece explores the fundamental pleasure and beauty of physical exercise that underlie both ancient and modern manifestations of the Olympic games (as well as the Spartan gymnopaedia evoked in Satie's Piano pieces). The music consists of three elements: Exercises Actions and Disciplines. There are 84 short repeated Exercise motifs analogous to simple movements of the body or stretching exercises in performing which the players adopt stylised (musical) poses akin to those of Greek art. In between Exercises the players perform a number of silent physical Actions devised by themselves. Once stretched and loose each player is ready to attempt his or her own personal Discipline chosen from a list of 9 possibilities (running jumping javelin and trampoline).

Thomas Simaku's The Rose Of The World for Soprano SATB choir and Chamber Ensemble (9 players). A setting of the W. B. Yeats poem of the same name. Composed 2014-5. Published 2015.Instrumentation: Soprano SATB choir Flute Clarinet Bass Clarinet 3 Percussionists Piano Violin Cello.First performance: Rachel Nicholls (soprano) Philharmonia Chorus BBC Concert Orchestra Stephen Cleobury (conductor); Easter at King's Festival King's College Chapel Cambridge; 1st April 2015 with live BBC Radio 3 broadcast.

The sheet music for Nico Muhly's Doublespeak arranged for Chamber Ensemble and composed for the orchestral sextet 'eighth blackbird'. The piece is arranged for Flute (Soprano Recorder) Clarinet in B flat Percussion (Castanets Tenor Drum Pedal Bass Drum) Glockenspiel Piano Violin and Cello. It works for 2-6 players and this item includes the full score as well as the parts. Doublespeak had its debut at the Edlis Neeson Theatre in Chicago performed by the new musical six-piece 'eighth blackbird'. The piece is a slow and repetitive one punctuated bymoments of stark beauty. It is according to Muhly something of a tribute to the great Philip Glass the forefather of minimalist classical music. It takes implicit inspiration from his entire oeuvre but also explicitly incorporates portions of his most famous and valued works interweaving them inside a new composition that captures what 'eighth blackbird' do best.  The Doublespeak sheet music would be ideal for Chamber Ensembles looking to perform or practise minimalist music drawn from the 1960s and 1970s. If you love Philip Glass or Nico Muhly or both this composition is a real treat.

Artiste: Arpad Pejtsik. The latest volume in this popular series expands the repertoire of intermediate violoncello pupils with some unusual transcriptions. This time the editor, Árpád Pejtsik, has arranged Ave Maria settings (one song and three choral works) for four cellos. The first is a classical music hit, Schubert's Ave Maria. Next is the transcription of a little-known piece from Liszt's vast output, an item from his 1879 choral work Rosario, followed by an arrangement of the first of Verdi's Quattro pezzi sacri, famous for being based on an ''enigmatic scale'' (scala enigmatica). The volume concludes with another evergreen, the Ave Maria from Rachmaninoff's All-Night Vigil. Rather than testing the players' virtuosity, these slow-moving, contemplative pieces serve more to improve intonation skills as well as a sense of form and proportion. The editor has added suggested fingerings and bowings in order to help with the music's appropriate interpretation. / Niveau : Intermédiaire à Avancé / Classique / Recueil / 4 Violoncelles

Music Minus One Tuba/Bass Trombone-A superior collection of brass pieces performed by the Classic Brass Ensemble. A very broad program of material designed to test the abilities of the average through excellent tuba player. Jay McAllister tuba soloist shows you the way and then you are at stage center. Includes a high-quality printed solo part and a compact disc containing a complete performance with soloist then a second version with the accompaniment minus the soloist. Performed by Jay McAllister tuba Accompaniment: The Chamber Brass Players: Maurice Peress trumpet James Spear trumpet Brooks Tillotson horn Alan Raph trombone

For Flute Clarinet Violin Cello and Piano.Published 2001Commissioned by Bath International Music Festival and South West Arts with funds from Foundation for Sport and the Arts.First performance: 1st June 2001 BathFestival New Music Players.

A cantata for soprano flute violin cello and harpsichord/celeste first performed in August 1970 at Dartington Hall Summer School by Mary Thomas and the Pierrot Players conducted by the composer.Duration c.12mins. Score andparts.

For Violin and Cello.Published 2008.Dedicated to Peter Sheppard Skaerved and Neil Heyde.'This music was composed during my DAAD residency in Berlin in October ? November 2007. If I were to describe itin 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 playedby 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 musicfor 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 reminderof 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 Ilived 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

Dast Be Dast ('Hand to hand in friendship') was commissioned by Cuatro Puntos a pioneering ensemble of chamber musicians dedicated to global cooperation and peace through the writing and performance of new music worldwide.The piece was written specifically for their violist Kevin Bishop and for Rubab player Samim Zafar a student of the extraordinary Afghanistan National Institute for Music (ANIM) in Kabul. Kevin suggested that the piece should represent the two distinct but equal musical cultures of the performers and as such both players are required to adopt characteristics of each other's traditions both techniques andlanguages.Dast Be Dast illuminates various aspects of Afghan and Western music-making with both instruments exploring improvisation alongside notation controlled imitation with spontaneous elaboration and Western tonality within Afghan scales. The piece is based on three Afghan songs each heard clearly in the three movements which are played without a break:I Anar Anar (Pomegranates): a fast song where the two instruments imitate each other gradually becoming more and more elaborate.II Allah Hu (This is God): a meditative movement for solo viola based on a specific interpretation of Allah Hu sung as a lullaby by Veronica Doubleday in 2004.III Watan Jan (Dear Homeland): based on a whirling atan dance in 7/8. Gradually getting faster and faster the players have to keep up with each other's virtuosity.The work was premiered by Samim and Kevin on 23 June 2014 at ANIM Kabul Afghanistan.The work is dedicated to them both with admiration.

Written for 'Rondalla' (a band of street musicians) this soulful and lively piece evokes the scene of a busy Spanish market place with the music being heard over the jostling crowd. Composed by Joaquin Rodrigo in 1962 Estudiantina (Pasacalle Y Coplilla) is orchestrated for Bandurrias 1 & 2 (A Bandurria is a Spanish instrument of the Lute type) Lutes and Guitars and can be played by either four solo players or by a small ensemble of players.The score and parts are included.