SKU: HL.277278

UPC: 888680953300. 9x12 inches.

Nico Muhly's Clip for Ensemble.

SKU: HL.14043557

UPC: 840126947403. 9.0x12.25x0.105 inches. English.

A fascinating and thrilling piece for piano and pre-recorded elements, composed for pianist Bruce Brubaker. Each movement begins with a pre-recorded drone that underlies the rest of the movement. This allows for a certain degree of improvisation in the tempo and the rests which can give an element of unpredictability to each performance. To obtain the pre-recorded sounds for your own performance, contact the publisher at promotions@musicsales.co.uk.

SKU: HL.14043430

UPC: 840126950137. 9.0x12.0x0.1 inches. English.

Nico Muhly's My Days for ATTB choir and five Viola Da Gambas. Full score. This 16 minute piece of sheet music was commissioned by Wigmore Hall and the world première was performed by Fretwork and Hilliard Ensemble at Wigmore Hall, October 2, 2012.

SKU: HL.14043512

UPC: 840126951547. 12.0x16.5x0.118 inches. English.

This Drones, Variations, Ornaments sheet music is the full score for this innovative and dramatic piece by Nico Muhly . According to Muhly , this piece is music in constant transformation, featuring steadily evolving melodies from a number of instruments, punctuated with hugely original percussive parts, with instructions to fill the Cymbal with chain, coins and other metal objects in order to make it sound like glass shattering. It is this inspired composition that makes Drones, Variations, Ornaments the interesting and acclaimed piece that it is. With this piece, Muhly has attempted to recreate the sound and motion of a machine through music. String chords begin the piecewith a light and soothing opening, before the machine (made up of Winds, Guitar, Percussion and Piano) awakens. This truly unusual piece is a joy to listen to and perform, and we are pleased to offer this full score to you.

SKU: BT.SRO100013-01

English.

SKU: HL.276513

UPC: 888680989774. 12x16.5 inches.

“Sentences is a thirty-minute meditation, in collaboration with Adam Gopnik, on several episodes drawn from the life and work of Alan Turing. Turing lived, in a sense, many different lives, but at the heart of his work was, I think, a very musical set of anxieties. Even the idea of code-breaking is inherently musical; the French for score-reading is déchiffrage: deciphering. His wartime work on the Enigma code translated, later in life, to a more nuanced relationship to code in the form of a primitive but emotionally (and philosophically) complicated artificial intelligence. The piece uses a single voice not to speak necessarily as Turing, but as a guide through these various episodes.

I've always felt that the question of sentient computers is wildly emotional: we anthropomorphise the Mars Rover, imagining its solitude on that dusty planet. Any act of communication in which the second person is unseen can be a one-way conversation. An email, sent, can never be returned - did it arrive or did it not?-', or a text message can be delivered but never read. The thrill of a fast response is immediately tempered with the harsh but empty rudeness of an out-of-office reply. Anybody who has made a condolence phone call only to hear the voice of the deceased on the outgoing answering machine message knows the complexities of what could be a simple binary communication.” –Nico Muhly.