(I. The Way of the Ship, II. Mists and Mystery, III. Songs in the Salty Air, IV....(+)
(I. The Way of the Ship,
II. Mists and Mystery,
III. Songs in the Salty
Air, IV. Waltz of the
Clipper Ships, V. Finale,
introducing the S.S.
Eagle March). Composed by
Robert Russell Bennett
(1894-1981). Concert
Band. Concert Band;
Score. Belwin Classic
Band. TV. Grade 5. 88
pages. Published by
Belwin Music
Orchestra SKU: BT.MUSM570366699 Composed by Ed Hughes. Score Only. 62 pag...(+)
Orchestra
SKU:
BT.MUSM570366699
Composed by Ed Hughes.
Score Only. 62 pages.
University of York Music
Press #MUSM570366699.
Published by University
of York Music Press
(BT.MUSM570366699).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Orchestra SKU: BT.MUSM570366712 Composed by Ed Hughes. Classical. Study S...(+)
Orchestra
SKU:
BT.MUSM570366712
Composed by Ed Hughes.
Classical. Study Score.
62 pages. University of
York Music Press
#MUSM570366712. Published
by University of York
Music Press
(BT.MUSM570366712).
English.
Le
Voyage Dans La Lune is a
continuous orchestral
score of approximately 14
minutes comprising two
outer fast sections and a
slower inner section of a
dream-like character. The
work is directly inspired
by the film Le Voyage
Dans La Lune (1902),
written and directed by
the pioneering French
film-maker, Georges
Méliès. Méliès was
influenced by 19th
century interests in
science and discoveries,
as well as the science
fiction of Jules Verne.
At the same time his work
seems fantastic, surreal
and satirical. Some
critics point out an
underlying critique of
colonial adventuring. The
plot centres on a group
of astronomers who decide
to launch a rocket to the
moon containing a handful
of their number. They
reach the moon (famously
landing on the moon’s
face) and then encounter
a strange race of aliens,
whom they battle and
destroy. The return to
earth involves a dramatic
descent, a plunge into
the ocean and then
celebratory dancing. The
film inhabits a surreal
and dream-like space, and
uses an idiosyncratic
visual language which
transforms reality. This
inspired an active
musical response in my
own score, which is by
turns abrupt, smooth,
lyrical and violent, and
expresses something of
the strange shifting
surfaces and multiple and
layered tempos evident in
the film. The canons in
the horns in the first
scene reflect the intense
arguments of the
astronomers as they
consider the project. The
slower inner section is
inspired by the scenes of
the industrial City
viewed from its rooftops
by the astronomers. It
also expresses the wonder
of the astronomers as
they see the earth rise
from the perspective of
the moon after their
arrival there. The music
of the final section is
in places conflicted,
reflecting the violent
encounters with the
moon’s inhabitants. It
moves into a more
harmonious phase at the
close to match the
celebrations upon the
astronomers’ return
from their adventuring.
The music could be
considered to be a
surreal mini-opera
without voices, voicing
instead the characters of
the silent screen. - Ed
Hughes.
Chamber orchestra (Study Score) SKU: HL.49019239 For 'classical' orche...(+)
Chamber orchestra (Study
Score)
SKU:
HL.49019239
For
'classical'
orchestra. Composed
by Edward Cowie. This
edition: Saddle
stitching. Sheet music.
Study Score. Softcover.
Composed 1981-1982/2010.
114 pages. Duration 25'.
Schott Music #ED13480.
Published by Schott Music
(HL.49019239).
ISBN
9790220133282.
8.25x11.75x0.342
inches.
Leonardo
was originally written
for television. During
the early 1980s, I became
involved in a BBC project
to make a film about
Leonardo da Vinci, with
particular attention to
his influence on 20th
century technology and
philosophy. As a visual
artist, but one who was
originally trained as a
physicist, any individual
who's life-work spans and
conjoins the arts with
sciences is fascinating
to me. Edward Cowie
2010.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: 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.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: 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.
Orchestral Score. Composed by John Powell. This edition: Paperback/Softcover...(+)
Orchestral Score.
Composed by
John Powell. This
edition:
Paperback/Softcover.
Sheet
music. Study score.
Composed
2010. 412 pages. Omni
Music
Publishers #OMNI 50792.
Published by Omni Music
Publishers
Cape Horn Orchestre [Conducteur] - Intermédiaire Hal Leonard
F Horn; Orchestra (Score) - Grade 4-5 SKU: HL.4008328 For Solo Horn an...(+)
F Horn; Orchestra (Score)
- Grade 4-5
SKU:
HL.4008328
For
Solo Horn and Orchestra,
Grade 4 / Solo 5
Score. Composed by
Otto M. Schwarz.
Symphonic Dimensions.
Concert. Softcover. 40
pages. Duration 500
seconds. Hal Leonard
#SDP156-22-401. Published
by Hal Leonard
(HL.4008328).
ISBN
9781705198056. UPC:
196288148401.
Cape
Horn is situated at the
southern point of South
America, on the Chilean
island “Isla
Hornosâ€. For
centuries, sailing around
thehorn was said to be
one of he most dangerous
passages for ships that
wanted to sail from the
Atlantic Ocean westwards
to the PacificOcean.
Tradition has it that Sir
Francis Drake discovered
Cape Horn in 1578 and the
Dutch voyager Willem
Cornelisz Schouten was
the first to round it in
1616. It was the latter
who named the promontory
after his Dutch hometown
Hoorn. It is estimated
that over 800 ships and
10,000 men in total sank
into the icy waters
during attempts to
circumnavigate the cape.
The work Cape Horn
– a solo for Horn
and concert band –
attempts to reflect the
beauty, but also the
peril of this region. It
is a matter of great
importance to thecomposer
Otto M. Schwarz to write
new repertoire in the
wind band solo works
genre. The tonal language
of his main genre
– film music
– is as
unmistakable as the
experimental parts and
catchy tunes.
Serie IX (Schriften) Vol. 4.3: Briefe 1952-1956. Composed by Hanns Eisler ...(+)
Serie IX (Schriften) Vol.
4.3: Briefe 1952-1956.
Composed by Hanns Eisler
(1898-1962). Edited by
Maren
Koster. Restless Times.
Breitkopf and Haertel #BV
350. Published by
Breitkopf
and Haertel
Full orchestra (Full Orchestra) SKU: EC.RBM-253 Composed by Randol Alan B...(+)
Full orchestra (Full
Orchestra)
SKU:
EC.RBM-253
Composed
by Randol Alan Bass.
Orchestra: Pops,
Orchestra: Short Work.
21st Century. Full score.
Randol Bass Music
#RBM-253. Published by
Randol Bass Music
(EC.RBM-253).
Casey
at the Bat was
commissioned in 2001 by
the Dallas Symphony
Orchestra as a part of
their Americana concert
series from that season.
The work is a colorful
and highly descriptive
narrative setting of the
famous poem, “Casey at
the Bat” by Ernest
Lawrence Thayer, first
published in an 1885
edition of The San
Francisco
Chronicle.(The
poetry has been slightly
paraphrased from the
original to replace some
arcane terminology.)This
composition was conceived
in a distinctly
cartoonish style –
reminiscent of the
orchestral music so
masterfully created by
Carl Stalling and other
great film score writers
during the Golden Age of
the animated short. In
addition to brief quotes
from Till
Eulenspiegel of
Richard Strauss, the
melody from Take Me
Out to the Ballgame
(Tilzer-Norworth) is
interpolated throughout
the fabric of the piece
(although the lyrics are
never sung).The first
performance of this work
took place during the
Spring of 2001, under the
baton of Richard Kaufman
and featuring Pat Sajak
as narrator of the
well-known poem.Audio
excerpts from a matchless
narrative performance of
this piece by
Shakespearean actor Sir
Derek Jacobi (with the
National Symphony of
London and the composer
conducting) are included
below for perusal
purposes. The full
performance may be
purchased as an audio
file from Kodanja
Records of Dallas,
TX. ( dur: 8’
)
Orchestra SKU: PO.PEP05S Works for String Orchestra. Composed by L...(+)
Orchestra
SKU:
PO.PEP05S
Works
for String Orchestra.
Composed by Larry Pruden.
Perfect. Collection -
Full Score. Promethean
Editions #PEP05S.
Published by Promethean
Editions (PO.PEP05S).
ISBN
9781877218057.
Pref
ace to the Collected
EditionOver the span of
his composing career,
Larry Carrol Pruden
(1925-82) completed some
60 works, including music
for piano, chamber
ensemble, orchestra,
stage and film. The scope
of the ten-volume
Collected Edition
incorporates every work
that the composer is
known to have considered
complete, and a very few
incomplete works which
the editors felt
warranted inclusion. The
works in the latter
category are either
virtually complete or
have been deemed worthy
of inclusion due to the
significance that the
composer is known to have
attached to
them.Throughout Pruden's
output, whether the music
is modest in scale and
purely functional (civic
fanfares and radio
advertising jingles, for
example) or more extended
and overtly serious in
tone (such as the larger
works for orchestra and
strings), his vivid
response to urban society
and rural life in New
Zealand is revealed. With
Douglas Lilburn, John
Ritchie and others, Larry
Pruden belongs to the
earliest generation of
New Zealand composers to
discover a genuine
vernacular, and in his
music is reflected the
trail-blazing spirit of
the pioneers, their
passion for creativity
and their rebelliousness
of spirit.The scores in
the Collected Edition are
based on Pruden's
underlying autograph or
holograph manuscripts,
which have been consulted
extensively throughout
the editorial process.
Comparison has been made
to all extant forms of
each title, published and
unpublished. In some
cases, several variants
exist, and the goal has
been to determine as far
as possible the
composer's final
intention and to convey
this comprehensively in
the published score.
Emendations have been
made to account for the
composer's revisions and
for certain errors and
inconsistencies, and each
volume includes a short
commentary and editorial
notes on the source
materials.In consultation
with the Estate of Larry
Pruden, Promethean
Editions appointed an
Editorial Panel and an
Advisory Panel to oversee
publication of the
Collected Edition. The
role of the Editorial
Panel has been to
undertake the research
into the composer's
archival and manuscript
materials and to make the
necessary editorial
decisions and ensure the
accuracy of the musical
and textual content of
the Edition. The Advisory
Panel has been
responsible for
monitoring the overall
approach to the project
and for ensuring the
maintenance of a wider
perspective.
Orchestra SKU: NR.110259 A story of the South Seas : music for the sil...(+)
Orchestra
SKU:
NR.110259
A story
of the South Seas : music
for the silent film of
Friedrich Wilhelm Murnau
for. Composed by
Violeta Dinescu.
Orchestra (10 and more
instruments). Score.
Noten Roehr #110259.
Published by Noten Roehr
(NR.110259).
Composed by Helmut
Lachenmann. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library). Music
post-1945; New music
(post-2000). Full score.
Composed 2003/04. 108
pages. Duration 25'.
Breitkopf and Haertel #PB
5435. Published by
Breitkopf and Haertel
(BR.PB-5435).
ISBN
9790004212820. 11.5 x
16.5 inches.
Meine
eigene neue
Orchesterkomposition hat
den Titel ,,SCHREIBEN.
Die praktische Aktion des
Schreibens, als
mechanisches Einwirken
per Hand, Stift, Pinsel,
auf eine Flache (Papier,
Pergament, Stein etc.),
ausgelost und gesteuert
von einem kommunikativen
Bedurfnis und, bei aller
Spontaneitat, beherrscht
durch die Regeln von
Schrift und Sprache, ist
fur mich einer der
geheimnisvollsten
Vorgange im
zwischenmenschlichen
Alltag, bei dem
menschlicher Geist und
tote Materie einander
begegnen: Gedanken bzw.
Gedachtes werden auf
einer Flache - Papier,
Pergament, Stein -
festgehalten, ihr
sozusagen anvertraut. Und
auf diesem Umweg uber
Sprache, Schrift und
Gravur begegnen sie dem
Geist des lesenden oder
entziffernden
Mitmenschen. Als
Komponist aber frage ich:
gibt es auch einen
anderen
Kausalitatszusammenhang,
gibt es z. B. ein
,,autonomes Schreiben,
eine sinn-freie
Zeichengebung, durch
entfesselte, losgelassene
Fortbewegung der
schreibenden Hand, wo der
Schreibende seinem
eigenen Schreiben nur
noch staunend zusieht?
Werden nicht in Japan
Bilder, auch ,,abstrakte,
geschrieben??? (In einem
Underground-Film der
70er-Jahre uber den
jungen Mozart sieht sich
der Zuschauer versetzt in
ein Zimmer eines
italienischen Gasthauses,
in dem der junge
durchreisende Mozart am
Tisch eilig die
Rezitative einer seiner
italienischen Opern zu
Papier bringt. Mehr als
eine Viertelstunde lang
sind wir dabei, horen
nicht die entstehende
Musik, sondern das
nervose Kratzen der Feder
auf dem groben
Notenpapier in
nachmittaglicher Stille -
nur der gleichmassige
Pendelschlag der Wanduhr
ist noch zu horen -, und
wir erleben diese
sekundare Klangwelt kaum
weniger intensiv als
nachher andere Horer die
dabei stumm entstehende
Musik.) Das Orchester in
meinem Stuck ,,schreibt.
Es fugt Strich zu Strich,
versteht sich selbst als
eine Art vielfaltiges
,,Schreib-Gerat. Wir als
Horer lesen nicht das
,,Geschriebene, aber wir
horen den Vorgang des
Schreibens, den
Bogenstrich, die Bewegung
des scharrenden Holzstabs
auf Fell oder Tamtam, und
wir beobachten dessen
Imitation bzw.
Transformation durch -
zeitweise auch tonlos -
sich zu linearen
Gestalten verbindende
Blasinstrumente als eine
Art klingender
Schreib-Zeremonie. Es
ergibt sich eine Musik,
die gelegentlich ihren
gedanklichen
Ausgangspunkt vergisst
und sich als autonome
Klang-Situation
fortentwickelt und
verwandelt, und die
schliesslich im hochsten
Register eine Art
,,Kantilene be-schreibt.
Wer das deutsche Wort
,,Schreiben (engl. ,,to
write) schreibt, der
schreibt dabei auch
unweigerlich das Wort
,,Schrei (engl. ,,shout),
und er schreibt auch das
Wort ,,reiben (engl. ,,to
rub). So emotional der
erste Begriff gedacht
werden kann, so
nuchtern-praktisch ist
der zweite. Von beiden
Aspekten, samt ihrer
Gegensatzlichkeit, ist
mein Stuck gepragt.
(Helmut Lachenmann,
2003)
Auditorium Orchestre [Conducteur] University Of York Music Press
Orchestra SKU: BT.MUSM570209934 Composed by Ed Hughes. Score Only. Univer...(+)
Orchestra
SKU:
BT.MUSM570209934
Composed by Ed Hughes.
Score Only. University of
York Music Press
#MUSM570209934. Published
by University of York
Music Press
(BT.MUSM570209934).
English.
For
Flute, Clarinet,
Percussion, Piano,
Strings, Tape. Published
2007. commissioned by
Glyndebourne Opera,
Photoworks and De La Warr
Pavillion. for the film
Auditorium, by Sophie
Rickett First
performance: 17 November
2007, Glyndebourne Opera
House, Sussex Downs Youth
Orchestra cond. Malcolm
Warnes.