Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical

The task: to write a piece that could involve children as players singers and composers alongside a professional symphony or chamber orchestra. The solution: a peace-cry for the biosphere in which the collaborative nature of theenterprise is a metaphor for a wished-for human enlightenment to the ways of the natural world. Davies provides five musical elements and five ways of development and uses these to illustrate five branches of life on earth:water-plants trees fish birds and mammals (including man). There is a space for answers from children's instrumental groups and then a larger space in which the children can develop the given ideas perhaps with members of theorchestra. Davies returns as composer to depict through an excess of development creation turned sour. Finally everyone comes together with a unison hymn with orchestra and instrumental groups celebrating the turn of thetide.This work for young instrumentalists children's chorus and orchestra was commissioned by the Association of British Orchestras as the centrepiece of an education project which coincided with the implementation of theNational Curriculum for music in schools in England and Wales echoing similar developments in Scotland and Northern Ireland.Score. Duration c. 25mins.

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

Eight Varied Pieces For Orchestra-Three new collections of varied pieces for orchestra for players from beginner to grade 3 standard.This collection of three books each containing eight varied pieces has been compiled to capture the imagination of young players and to introduce them to a wide range of musical styles.Special effects appropriate to each instrument provide additional learning points and great entertainment both in rehearsal and performance. There are glissandos for strings and trombone flutter tonguing for flute and trumpets (for those able to) and a range of vocal sounds for all!The scoring allows these pieces to be played by variouscombinations of instruments. Ideally your orchestra should have some instruments from each section but if not (for example no brass) then the supplementary piano part (available separately) can be used to fill the gaps. It can also be used to provide extra support in rehearsals.As well as the normal percussion parts some of the pieces make use of a drum kit. For orchestras without a drum kit player a drum kit and bass backing track is available to download free of charge either as MP3 or WAV files.OrchestrationDescant recorder Treble recorder Flute 1 Flute 2 or Oboe Clarinet 1 Clarinet 2 Alto Sax Bassoon Horn in F Horn in Eb Trumpet 1 Trumpet 2 Trombone (Bass clef) Trombone (Treble clef) Timpani Drum Kit Percussion 1 Percuission 2 Percussion 3.Strings (Violin 1 Violin 2 Violin 3 Viola Cello Bass)Orchanics 3 contains:-Hallelujah + Ode to joy (Handel/Beethoven); Mairi's Wedding (Roberton); Ragtime Roundup (Richard Ling); Samborina (Richard Ling); Spring from Four Seasons (Vivaldi); Danserie (Susato); Yellow Bird (arr Ling); Silent Night.

Mon Concerto pour orchestre (2007) est une oeuvre de vingt minutes dans laquelle les différentes sections de l'orchestre, ainsi que différents solos et duos du sein de l'orchestre, sont mis en évidence que la musique se déploie. Le travail continue mon intérêt pour les formes à deux mouvement qui a commencé avec mon Concerto pour violoncelle (1991), et plus tard a été développé dans Sortilège (1996) et la Symphonie (Broken Consort) (2004). Dans ces oeuvres, et dans le Concerto pour orchestre, chaque mouvement est le même poids et de l'importance avec le second développement de matériel plus tôt et prendre de nouvelles directions.La forme en deux mouvements du Concerto pour orchestre vient d'une structure symphonique sonate, remodeler la forme en quatre mouvements traditionnels et en combinant cela avec les aspects de la forme sonate, une tradition qui remonte à Liszt, Schoenberg et Sibelius:1er mouvement (i) l'exposition d'idées - dramatique et soudaine (ii) scherzo et développement 1 - résolue2ème mouvement (iii) adagio - calme et tranquille (iv) le développement 2 avec récapitulation - intense et énergiqueLe Concerto pour orchestre a été commandée par le Musikalische Akademie des Nationaltheatre-Orchesters Mannheim avec le soutien de Die Landesbank Baden-Württemberg pour ses deux premières représentations le 31 Mars et 1er Avril 2008 réalisée par Friedemann Layer. La partition est dédiée à l'amitié et l'admiration pour Ronald Zollman. / Orchestre

This piece is to be performed without a conductor with an emphasis of the soloistic qualities of a group of players.Space Play was commissioned by the Serge Kossevizky Music Foundation in the Library of Congress and is dedicated to the memory of Serge and Natalie Koussevitzky. It was First performed at the Queen Elizabeth Hall by the London Sinfonietta in October 1974.

Création 30/11/2012 - Cologne (Allemagne), Philharmonie - Nicolas Hodges (piano), WDR sinfonieorchester Köln, Ilan Volkov (direction) Commanditaire Westdeutscher Rundfunk Köln Dédicace à Nicolas Hodges Notice Le titre de ce concerto est emprunté à l'ouvrage classique de l'archéologue et philologue américaine Emily Dickinson Townsend Vermeule, Aspects of Death in Early Greek Art and Poetry (1979). Le chapitre V s'intitule : On the Wings of the Morning : the Pornography of Death. Il s'agit de cas de mort subite, de disparitions soudaines, du rapt des mâles par quelque femme-oiseau ou femme-lion - Harpies, Sphinges ou Sirènes -, créatures monstrueuses dont l'attrait est fatal. Les adorateurs de Dionysos ont souvent remarqué l'aisance et la grâce provocante de ces enjôleuses qu'un geste de brusque sauvagerie rapproche tout de même de la panthère. Pour la victime éblouie, l'envolée vers les cimes culmine en une étreinte funeste. Un battement d'ailes, une jonchée d'ossements, tel est le tableau de la pornographie de la mort. On the wings of the morning est une allusion aux incertitudes du temps présent, à ses Furies modernes. Ce concerto pour piano ne recherche pas l'effet pittoresque et n'a pas de caractère illustratif. L'évocation des bacchantes de l'Hadès est simplement l'occasion d'une fantasmagorie du demi-jour où les ombres jouent sur les surfaces tendues. L'orchestre se comporte comme une masse tumultueuse dont la dynamique conflictuelle est dominante. L'association des pupitres de clarinettes et de trombones, conçue comme un matériau paradoxal, donne sa tonalité d'ensemble à l'oeuvre : amères présences, prosaïsme lugubre, voûtes sans écho. Le temps n'est plus qu'un écheveau de moments transitoires. Le pianiste se trouve dans la situation du forçat des Palmiers Sauvages de Faulkner, condamné à pagayer sur le Mississippi en crue. Le Déluge, les apparitions démoniaques, le vent, le froid font son ordinaire. Sa tâche est de coudoyer les abîmes. L'esprit de ce piano n'est ni constructiviste ni combinatoire. C'est un esprit de survie, concentré sur l'intensification du matériau et la plasticité du mouvement. Commande de la Westdeutscher Rundfunk de Cologne, ce concerto pour piano et grand orchestre est dédié à Nicolas Hodges. Hugues Dufourt