SKU: HL.49018365

ISBN 9790220132407. UPC: 884088601270. 8.25x11.75x0.241 inches. English - French - German.

Recently awarded a British Composer Award, Ryan Wigglesworth's orchestral song cycle 'Augenlieder' is now available as a study score. Setting poems by Robert Browning, Egon Schiele, Arthur Rimbaud and John Berryman, Augenlieder or Eye Songs was described as 'glittering with skill' by Geoff Brown in the Times. Masterfully orchestrated and with beautiful vocal writing, Wigglesworth is a composer to watch out for in the future.

Keep your eyes open when you kiss, a sonnet by John Berryman ends this evocative and rich song cycle, premiered by Claire Booth and the BBC Symphony Orchestra conducted by the composer at the Barbican Hall, London in November 2009. Geoff Brown in The Times describes Ryan Wigglesworth as having a 'bright ear for glinting textures, [a] flair for taut motivic interplay [and] his conjuror's ability to cast a spell. This is a strong new work.' The Sonnet depicts a five month love affair and is set alongside a little known poem by Egon Schiele Visionen and poems by Robert Browning and Arthur Rimbaud.

SKU: HL.14043242

ISBN 9788759826447. 12.0x16.5x0.53 inches. English.

Hans Abrahamsen 's 2012-2013 piece Let Me Tell You for Soprano and Orchestra. The piece incorporates text by Paul Griffiths, taken from his 2008 novel of the same name.

SKU: PR.11640976L

UPC: 680160682775. Das Stundenbuch.

This cycle of orchestral songs sets four poems from an early collection by Rilke entitled Das Stundenbuch, or in English, Book of Hours. Although the title refers to a medieval book of prayers for the various times of day and seasons of the liturgical year, Rilke's texts occupy a position some distance from conventional piety. There is a melancholy to the spirituality expressed here, which speaks of an experience of God that is fragmentary, imperfect, and unattainable. The solitude evoked in the second song (as layers of busy activity are gradually peeled away) offers some solace, but the third song is very dark and fierce, filled with a desperate, even manic desire for God. The last song returns to the mood of the first, but now in a global rather than individual context. This song, like the set as a whole, speaks of our world's brokenness, yet strives to stammer fragments of God's name.