Interlude - String Set

The Rosegarden Of Light - String Sextet Score-Gulistan-e Nur: The Rosegarden of Light for String Sextet and Youth Ensemble. Instrumentation: Professional String Sextet (2 Vlns 2 Vlas 1 Cello 1 Db). Youth/amateur ensemble (Interludes only): open instrumentation (5 treble alto bass parts (transpositions available) Keyboard). The Three Interludes are supplied separately. The sextet movements/Three Interludes can also be performed separately. I Bahar-e nastaran-bihag (Radio Piece) Interlude 1/ Introduction (Youth ensemble) Sextet Movement 1 (Professional) II - Shirin dokhtar-e maldar (Sweet Nomad Girl)Interlude 2 Sextet Movement 2 III - Watan Jan (Dear Homeland) Interlude 3 Sextet Movement 3 Duration: c.26 mins (complete) / c.16 mins (sextet movements only). On 11 December 2014 several young musicians from the Afghanistan National Institute of Music were performing at the Istiqlal School home to the French Cultural Centre in Kabul. The venue was targeted by a suicide bomber with devastating results leaving a number of students (and ANIM’s founder and Director Dr. Ahmad Sarmast) with severe injuries. Despite these most challenging of circumstances ANIM continues to provide an extraordinary learning environment for all its students regardless of gender ethnicity or social circumstances. They are committed to assuring musical rights rebuilding lives through music training future music educators establishing intercultural dialogue and to reviving and preserving Afghan Music. Gulistan-e Nur: The Rosegarden of Light is dedicated with great admiration to Dr. Ahmad Sarmast and to the students and staff of the Afghanistan National Institute of Music in Kabul particularly remembering those who were injured in the 11 December attack. The work is also dedicated to Kevin Bishop and members of the pioneering ensemble Cuatro Puntos who are dedicated to global co-operation and

Bass & Percussion parts-Includes Bass And Percussion Parts. 'Includes Full Score. 1. Morning Has Broken (Hmb139A)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bb Clr B. Clr 2Bsn 4Hn 3Bbtpt 3Tb Tuba Strings Perc Timp.Interlude: Organ Perc Hp Picc Fl Ob E.Hn Clr B. Clr Bsn 2Hn 2Tbn Tuba Strings.2. Praise To The Lord The Almighty (Hmb139B)- 3Bbtpt 4Hn 3Tnb Tuba Vln I A-B Vln Ii A-B Viola A-B Cello A-B Bass Hp Perc Timp Picc 2Fl 2Ob E.Hn 2Cl B. Cl 2Bsn.Interlude: Organ Picc Fl Ob E.Hn Cl B. Cl Bsn 2Hn Perc Timp Strings.3. This Is My FatherS World (Hmb139C)- Strings 2Fl Ob 2Hn 3Tpt 3Tbn Tuba Perc Hp.Interlude: Org Picc Fl Ob E. Hn B. Cl Bsn Strings Perc Hp4. In Thee Is Gladness (Hmb139D)- Organ Strings 2Hn Fl Ob 2Bb Cl B. Cl HpInterlude- Organ Fl Ob E. Hn Cl B. Cl 2Hn Strings.Includes Bass And Percussion Parts. Includes Full Score. 1. Morning Has Broken (Hmb139A)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bb Clr B. Clr 2Bsn 4Hn 3Bbtpt 3Tb Tuba Strings Perc Timp.Interlude: Organ Perc Hp Picc Fl Ob E.Hn Clr B. Clr Bsn 2Hn 2Tbn Tuba Strings.2. Praise To The Lord The Almighty (Hmb139B)- 3Bbtpt 4Hn 3Tnb Tuba Vln I A-B Vln Ii A-B Viola A-B Cello A-B Bass Hp Perc Timp Picc 2Fl 2Ob E.Hn 2Cl B. Cl 2Bsn.Interlude: Organ Picc Fl Ob E.Hn Cl B. Cl Bsn 2Hn Perc Timp Strings.3. This Is My FatherS World (Hmb139C)- Strings 2Fl Ob 2Hn 3Tpt 3Tbn Tuba Perc Hp.Interlude: Org Picc Fl Ob E. Hn B. Cl Bsn Strings Perc Hp4. In Thee Is Gladness (Hmb139D)- Organ Strings 2Hn Fl Ob 2Bb Cl B. Cl HpInterlude- Organ Fl Ob E. Hn Cl B. Cl 2Hn Strings.5. Fairest Lord Jesus (Hmb139E)- Organ Hp 3Tbn Tuba 4Hn Fl Ob Cl B. Cl Bsn Strings.Interlude - Hp Picc Fl Ob E.Hn 2Cl B. Cl Bsn 2Hn 2Tpt 2Tbn Tuba Perc Timp Strings.6. How Firm A Foundation (Hmb139F)- Organ Picc 2Fl 2Ob E.Hn 2Bb Cl B. Cl 2Bsn 4Hn 3Bbtpt 3Trb Tuba Perc Timp Strings.Interlude- Organ Hp Picc Fl Ob E.Hn 2Cl B. Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp Strings.7. When I Survey The Wondrous Cross (Hmb139G)- Organ Hp Picc Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp StringsInterlude- Picc Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Perc Timp Strings.8. Christ The Lord Is Risen Today (Hmb139H)- Organ Hp Picc 2Fl Ob E.Hn 2Cl B.Cl Bsn 2Hn 3Tpt 3Tbn Tuba Perc Timp Strings9. When The Saints Go Marching In (Hmb139I)- Strings 3Tpt 3Tbn Tuba Pno Perc Trap.10. Morning Has Broken- Finale (No Number Assigned)- Organ Hp Picc 2Fl 2Ob E.Hn 2Bbcl B.Cl 2Bsn 4Hn 3Bbtpt 3Tbn Tuba StringsPerc Timp.Instrumentation: 3Bbtpt 4Hns 3Tbns Tuba Vlni A-B Vlnii A-B Viola A-B Cello A-B Bass Harp Perc Timp Picc 2Fl 2Ob E.Horn 2Cl 2B.Cl 2Bsn.Instrumentation For Interlude Between Praise To The Lord And This IsMy FatherS World: Organ Picc Fl Ob E.Hn Cl Bsn 2Hn Perc TimpStrings.Hymn Tune Name: Terra P

New edition of the full score of this 8-minute work composed in 1933-36. Stemming from a suggested commission for an oboe concerto this music represented, as Stephen Banfield asserts, 'the first real manifestation of Finzi's mature idiom?. The demanding solo part is underpinned with idiomatic string writing as the music evolves with a natural flowing momentum. The work has a cyclic feeling to it, with a concluding fortissimo return to part of the opening. Its power of expression makes it rewarding for players and listeners alike.Performance materials available on hire from Boosey and Hawkes. / Hautbois Et Orchestre A Cordes

John McCabe's Nocturnal For Piano Quintet was composed in 1966 commissioned by the Park Lane Group London and first performed by the Lancaster University Ensemble. Duration: Approximately 13 minutes. Composers Note:  The title of this work is a reference to John Donne's poem A Nocturnal upon St Lucie's Day the mood of which is reflected in the quintet. It falls into several movements played without a break: Introduction (Andante) setting forth the main thematic ideas of the music; Nocturne 1 (Allegro vivo) an agitated virtuoso scherzo-like section; a tripartite central part of the work consisting of two Cadenzasframing a brief Interlude the first Cadenza being largely for strings the second mainly for piano and the Interlude harking back to the feeling of the Introduction; Nocturne 2 (Andante molto) a slow piece gradually building to a unison theme on strings accompanied by a tolling piano background. This dies down to lead to an Epilogue ending with a final reference to the work's opening bars. 

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Transkription Für Akkordeon. Par PENDERECKI KRZYSZTOF. In 2005 Krzysztof Penderecki dedicated Ciaccona, originally composed for string orchestra, to his friend and companion on life's journey, the late Pope John Paul II, and added it to his Polish Requiem as an interlude. After the publication of several frequently performed versions for various instrumentations, Schott now publishes this arrangement by Janusz Wojtarowicz for three accordions. / Niveau : 4 / Répertoire / 3 Accordéons

Work for Solo Soprano and Tenor Timpani Gongs Handbells and Strings. Commissioned by the St. David's Cathedral Bach Festival.These settings of sixteen Haiku by the Greek poet George Seferis (1900-1971) were written on theGreek island of Aegina between August and November 1983.The solemn and ritualistic character of the music was determined by the Haiku form which may be thought of as a series of self-contained images each with its ownidentity. The Greek texts all of which are separated by and instrumental interlude are shared between the soprano and tenor soloists who sing the last 'verse' together after the sixteenth Haiku.

First performance 12 October 2011 at St George's Hall Liverpool by David Pyatt (horn) and the Sacconi String Quartet as part of the Centenary Concert of the Rodewald Concert Series.Composer's NoteThroughout my musical life I have found the horn one of the most evocative and beautiful of all instruments and it is no surprise that I have written a number of works for it including a concerto a trio with violin and piano and a triptych of concert works for horn and piano. Writing a work for horn and string quartet has long been an ambition therefore fuelled not only by my love of the instrument but also by theastonishingly small repertoire of horn quintets.This work was commissioned to celebrate their centenary by the Rodewald Concert Society Liverpool who gave me an invaluable education in the masterpieces of the chamber music repertoire at their concerts which I attended regularly during my schooldays. The quintet is dedicated to Nancy and Douglas Brady two of my oldest and closest friends from Liverpool. It was written in 2010/11 and is continuous. There are however three main ?movements?: an opening quick one which is interrupted twice by brief slow interludes referring to the motto heard at the start a substantial slow movement which also contains two short scherzando sections (much as Brahms?s A major Violin Sonata has two quick trio sections in its slow movement) and a fast finale a descendant of the Beethoven one-in-a-bar scherzo.The scherzando interludes interwoven with the slow movement are frequently muted and have something of an other-worldly atmosphere perhaps Queen Mab came to deliver me of some dreams while I was writing it. At the end of the finale the furious activity gives way to an elegiac conclusion which I feel was greatly influenced by events in the world outside at the time of composition the music descending to a quiet sustained C on horn and cello. The work lasts just over 20 minutes and was first