/ Tuba
SKU: HL.276429
UPC: 712038110827. 1.6x1.6x5.0 inches.
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SKU: ST.MB96
ISBN 9790220223853.
This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. (The other, MB102, includes material from the two virginal books in the Fitzwilliam Museum, Cambridge.) The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organised by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music.
SKU: HL.48024683
ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.
TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.
SKU: PR.11440558S
UPC: 680160008971.
Conce rto da Camera II is a work for six instruments which may be further grouped into three separate entities - clarinet, string quartet, piano. In this combination, chosen by the work's commissioning organizations (the Chamber Music Society of Lincoln Center in conjunction with Mount Holyoke College), lies the work's first challenge. While pairings of any two of these three sound types abound in the concert literature, the three together form a far less common soundscape. The main difficulty appears in the necessity to reconcile the potential of both the clarinet and the piano of acting in a soloistic capacity when pitted against the string quartet. Indeed, the three movements of the Concerto deal with this problem in various ways, with the balance of power between the six instruments' potential for unity and contrast, solo and ensemble playing, continually shifting and changing. Yet another, more delicate, balance of power is at play here, namely, the relationship between the external, foreground level of the piece and a subtler background level. What, at first, appear like small, gentle melodic strands, mere echoes or residues of the main events, gradually assume an inner life of their own. Never actually taking over yet always there, a salient, if quiet, factor within the work's compositional fabric and evolving organism. Though each movement includes numerous tempo fluctuations, the overall thrust of the work clearly suggests a fast-slow-fast framework, with the last movement being a loosely structured, occasionally tempestuous Rondo.
