SKU: PR.416415760
UPC: 680160636532. 9 x 12 inches.
The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.
SKU: PR.41641576L
UPC: 680160636549. 11 x 17 inches.
SKU: HL.14014795
ISBN 9781846091216.
Henze's Funf Botschafen Fur Die Konigin Von Saba was commissioned by Radio France. It received its premiere on 3rd February 2005 at the Theatre Des Champs-Elysees, Paris by the Orchestre National de France. The five short but complex pieces are presented here in full score.
SKU: HL.14021000
ISBN 9780711959927. 5.5x7.5x0.2 inches.
Commissioned to write a piece for the 50th anniversary of the United Nations, Davies provided a musical General Assembly of his own: a bright overture based on an Australian aboriginal song which gives rise to 'national anthems' of various kinds and instrumental colourings. Finally the 'anthems' are combined, 'if not triumphantly', Davies says, 'at least in a manner whereby they get along together'. The first performance took place in June 1995 in Nottingham. It was given by the Royal Philharmonic Orchestra conducted by Peter Maxwell Davies. Score (miniature). Duration c. 14mins.
SKU: BR.PB-5432
World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017
Have a look into EB 9283.
ISBN 9790004212790. 10 x 12.5 inches.
Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.
SKU: HL.14023658
ISBN 9780711943711. 9.0x12.0x0.238 inches.
And Do They Do was commissioned by Siobhan Davies and the London Contemporary Dance Theatre. It was composed during the summer of 1986 and first performed at Sadler's Wells Theatre on 25 November in that year. It consists of four linked 'songs' of which the third is based on Schumann's 'Nachtlied' Opus 96, No. 1.
SKU: HL.48187533
UPC: 888680843779. 6x8.25 inches.
“This edition of Les Biches by Francis Poulenc features the score for the whole Orchestra. Initially written as Ballet, it was revised as a suite for Orchestra in the 1940s. This piece has a light style, considered 'beautiful and melancholic' by Jean Cocteau. Lasting 15 minutes 30 seconds, it is divided into five parts: 1. Rondeau 2. Adagietto 3. Rag-Mazurka 4. Andantino 5. Finale Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas, ballets as well as some Orchestral works.&rdquo.
SKU: CF.PO192S
ISBN 9781491157367. UPC: 680160915927.
Program note: Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas. The Composer: Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation. At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee. To the Conductor: You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .Program note:Christmas Fugue, like the charming English folk tune on which it is based, is full of the spirit and fun that is Christmas. After a slow shimmering introduction which imparts an impression of Christmas morning, the fugue subject is abruptly introduced. The fugue subject: We Wish You a Merry Christmas. The work develops through a series of playful musical episodes which afford satisfying opportunities for the various sections of the orchestra. The fugue culminates in a combination of motifs which find the brass heralding the unmistakable arrival of Christmas.The Composer:Dr. Robert Bennett Brown has devoted much of his professional teaching career to musical compositions and arrangements for young orchestral enthusiasts. Christmas Fugue, like other of Dr. Drown's published works, was written in and for the actual teaching situation.At the present time, Robert Bennett Brown is District Supervisor of Music for the Levittown, N.Y. Public Schools. Previously, for some nineteen years, he taught in Bronxville, N.Y. where, as Chairman of Music, he brought about an extremely high level of school orchestral achievement. he was educated at New York University and Teachers College, Columbia University. He has served as a field supervisor of student teaching for New York University and as a general music consultant. For the past two years he has been a member of the New York State Music Regents Committee.To the Conductor:You will find this work to be the conductor's dream. Parts are easy but impressive sounding. The total effect will give your orchestra that typical classical sound so satisfying to performer and listener alike. Full or exact instrumentation is not a must; cross-cues will carry critical areas where a specified instrument may be lacking. Piano, tuba, and saxophone parts are written to accommodate those players where they exist. These parts are not essential to the instrumentation. Though Christmas Fugue is well suited to the interests of high school orchestra pursuits, its grade of difficulty is easily handled by any junior high school group of average ability. .
SKU: CF.PO192F
ISBN 9781491157374. UPC: 680160915934.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: HL.14014802
ISBN 9780711992764. 9.75x13.75x0.285 inches.
Composer's Notes: This piece, written during the winter months of 2000-2001, consists of one movement, Allegro con fuoco, in which an old score is revisited, raided and ravished by its composer. The earlier music had been written in the mid-fifties for a stage work Maratona di Danza and for its maker, the director Luchino Visconti. Elements from the older piece reappear on and off like shadows under the surface of new ones, like more or less vague memories, images of young people suffering pain and despair in their struggle for survival in a barbaric, pitiless modern world. My new composition is a kind of concerto for very large symphony orchestra, an etude on constant and often rapid musical changes of mood and colours, built on a variety of rhythmic figures, incessantly and brutally pushing the music ahead. Sometimes, it is as though voices are weeping, sometimes crying out loud with pain, with anxiety, under the cold hearted pressure of an overwhelming violence. Hans Werner Henze Commissioned on the occasion of the 50th anniversary of das neue werk, Hamburg. Premiered on 29th June 2001. Duration 15 minutes.
SKU: HL.14043596
12.0x16.75x0.445 inches.
This is the full score of Aheym For Orchestra , composed by Bryce Dessner , best known as the guitarist of The National, but also an acclaimed composer in his own right. If so desired, this work can be performed with Strings alone: the Wind and Percussion instruments are optional. Composed in 2009 for the Kronos Quartet for their performance in Brooklyn's Prospect Park for the Celebrate Brooklyn! festival, Aheym (meaning 'homeward' in Yiddish) was directly inspired by his parents' migration to Brooklyn. The score in this edition was first performed by the London Sinfonietta at the Southbank Centre in London on the 9th of October 2012. The work lasts around 8 minutes and isfilled with dynamic tempo changes, a mix of staccato and smooth playing and all-round excitement. It's a fantastic piece to play and the genius composition will keep audiences on their toes.
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.
SKU: HL.49044525
ISBN 9790220135569. UPC: 888680080495. 8.25x11.75x0.388 inches. English.
Taking Thomas Hardy's short story as its starting point, we are transported to the present for a contemporary take on the novella which explores the power the mind can have over that person's actions. A closed door sparks an obsession so strong that the boundaries between reality and fantasy begin to blur.Ella and her high-finance husband Stephen rent a room in a holiday home on the coast, owned by Susan. Ella discovers that a locked room in the house is rented by a poet - Ben Pascoe - whose work holds a deep fascination for her. The room is held for Pascoe, though he visits rarely.Ella's obsession with Pascoe grows in parallel with the progress of Stephen's biggest City deal. She begins by imagining the poet's voice as she reads his work, but this quickly grows to fantasised encounters with Pascoe in his locked room. Stephen returns from the City and makes love to Ella, but it is not him she wishes for. We see the real Pascoe only once, with Susan.As Stephen's financial dreams are realised and Ella's fantasy consumes her, she learns of Pascoe's death. Despite her changed circumstances, Ella chooses to stay in her new world.
SKU: HL.49013033
ISBN 9790001131919. 8.25x11.75x0.462 inches.
Bei der Neuschrift des Stucks im Winter 1995-96, funfzig Jahre nach seiner Entstehung (als Buhnenmusik zu Molieres Comedie ballet Georges Dandin, aus der anschliessend ein Ballett wurde mit dem englischen Clown Jack Pudding in der Titelrolle), ist es mir darum gegangen, den alten Notentext auszulosen und sein thematisches und harmonisches Material nach Kriterien zu ordnen und zu entwickeln, die mir seinerzeit noch nicht zur Verfugung standen, und die recht skizzenhafte Anlage des Urtexts in eine Klangwelt heruberzutragen, die meinen heutigen Vorstellungen und Wertbegriffen von Theater und Musik entspricht und die gleichzeitig das heutige kulturelle Klima Neapels widerspiegelt und damit eine besondere Art von Wirklichkeit, die mich einmal so sehr gefangengenommen, bezaubert und beeinflusst hat.- Hans Werner Henze: 1 (auch Picc.) * 1 * 1 * 1 - 1 * 1 * 1 * 0 - P. S. (3 Trgl. * Crot. * Rohrengl. * Trinidad steel drum * 3 hg. Beck. * 3 Tamt. * 3 Tomt. * Schellentr. * kl. Tr. * gr. Tr. [m. u. o. Beck.] * Bongo * Guiro * Kast. * Ratsche * Peitsche * Lotosfl. * Cuica * Mar. * Putipu [neap. Brummtopf]* Scetavajasse [neap. Schrapstock mit Schellen] * Flex. * Vibr. * Marimba) (3 Spieler) - Klav. (auch Cel. und Akk. ad lib.) - Str.
SKU: HL.4490114
UPC: 884088161903. 9.0x12.0x0.08 inches.
SKU: HL.51489064
UPC: 840126937640. 6.75x9.5x0.214 inches.
The twelve “London Symphonies†comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. Hailing from 1791, the Symphony in D major no. 96 numbers among the first symphonies written in and for London. The epithet given to it by posterity, “The Miracleâ€, was bestowed erroneously, for the miracle - that no one was injured when a chandelier fell during a concert - took place during a performance of a different Haydn symphony. And yet it is a miracle of musical esprit nonetheless; from the subtle relations between the motives consisting of broken triads that open all four movements, to the virtuosic shifts in mood owing to surprising harmonies, Haydn here submits a prime example of how he develops musical ideas. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.51489060
UPC: 840126932843. 6.75x9.5x0.226 inches.
Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,†as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies†nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.†Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.
SKU: HL.51489059
UPC: 840126932898. 6.75x9.5x0.22 inches.
SKU: PR.11641867S
UPC: 680160683208.
Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.
SKU: HL.14023642
ISBN 9780711978119. 9.0x12.0x0.243 inches.
This work was written by Michael Nyman towards the end of 1997, commissioned by the English Sinfonia to celebrate the orchestra's taking up residence in Stevenage, Hertfordshire. The first performance was given by the English Sinfonia under Bramwell Toevy at the Royal Festival Hall, London, on 14 April 1998. Duration c. 17mins. Instrumentation:; 2 FLUTES; 2 OBOES; 2 CLARINETS IN Bb; 2 BASSOONS; 2 HORNS IN F; 2 TRUMPETS IN Bb; TIMPANI; STRINGS.
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