Par REED SMITH PAUL. Paul Reed Smith est l'un des luthiers de premier ministre du monde et le fondateur et propriétaire de guitares de PRS. Ses guitares électriques sont joués par des gens comme Alex Lifeson, Carlos Santana, Al Di Meola, Dave Navarro, Mark Tremonti, Mikael Akerfeldt, Peter Lindgren, Steven Wilson, Tim Mahoney, Marcus Curiel et Larry Lalonde. Innovations du PRS en longueur de l'échelle, les méthodes de construction, trem raffinements, conception pickup et esthétique ont aidé à redéfinir la guitare électrique. Il s'agit de son histoire. Le DVD comprend une interview de 30 minutes avec Paul Reed Smith, une tournée d'usine de 35 minutes de guitares de PRS, y compris le rough cut, cou, finition et départements de l'assemblage final. / All Styles - Concert/Documentary / Accessoire / Guitare Electrique

Par GRIME HELEN. Commissioned by the Edinburgh Quartet with financial support from Creative Scotland, PRS for Music Foundation, Britten-Pears Foundation, RVW Trust and Hope Scott Trust. First performed on 21st May 2014 by the Edinburgh Quartet, at Queen's Hall, Edinburgh, Scotland.Commissioned by the Edinburgh Quartet with financial support from Creative Scotland, PRS for Music Foundation, Britten-Pears Foundation, RVW Trust and Hope Scott Trust. First performed on 21st May 2014 by the Edinburgh Quartet, at Queen's Hall, Edinburgh, Scotland. / Musique contemporaine / Répertoire / Quatuor à Cordes

String Quartet No.2 is a work by Gabriel Prokofiev for String Quartet commissioned by The Elysian Quartet with support from the PRS for Music Foundation. The work lasts around 17 minutes. This is theFull Score and Parts.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

for Soprano and Piano. Par LEFANU NICOLA. The Moth-Ghost by Nicola LeFanu is a 10-minute dramatic scena for soprano and piano, setting a poem by James Harpur. The work tells the story of Thetis, a sea-goddess of Greek mythology, who knew that her son Achilles must die. In the poem, she is a grief-stricken mother, mourning his death in the Trojan war. The imagery of the poem and the music is of the sea: the sonority of its turbulence, the rhythm of its tides. The Moth-Ghost was written for soprano Gabriella di Laccio, who commissioned it with funds provided by the PRS Foundation, and it was premiered by her, accompanied by Clélia Iruzun, on 21 October 2021 at St James Church, Sussex Gardens, London. / Date parution : 2022-09-07/ Répertoire / Soprano et Piano

Footsteps by Owain Park was commissioned by Tenebrae with generous assistance from Arts Council England PRS for Music Foundation Santander Discovery Foundation Grant Britten-Pears Foundation and The Fidelio Charitable Trust. The work for unaccompanied mixed choirs explores the themes of travel solitude and journeying. Owain Park says: 'Footsteps is the result of many months of researching texts to structure a narrative that cycles the seasons through the view of a lonely traveller who is constantly being moved on before being allowed to settle finding comfort in the sky and stars above.”

For Clarinet and String Quartet.Published in 2011.Score.This work was commissioned by Linda Merrick and the Kreutzer Quartet to whom it is dedicated as a project involving commission performance recording and  educational and outreach work. It was supported by funds provided by the PRS for  Music Foundation RVW Trust The Holst Foundation the Royal Northern College of Music and the Ida Carroll Trust. The first performance was given at the Royal Northern  College of Music Manchester on June 15th 2011.

Joe Cutler's Equal Measured Music for Violin and String Orchestra.Equal Measured Music was written in the autumn/winter of 2010 and was the piece commissioned by the Scottish Ensemble wth support from the PRS Foundation.

This work was commissioned by the Presteigne Festival of Music and the Arts Ltd. with theaid of funds provided by the John S. Cohen Foundation and the PRS Foundation. The firstperformance was given by Rachel Nicholls and Paul Plummer at St. Andrew’s Church Presteigne on 29 August 2005.Composer's NoteGladestry Quatrains is a setting of 12 short poems by Jo Shapcott from her collection of the same title. It originated in a project for the 2003 Presteigne Festival called A Garland for Presteigne in which 10 composers associated with the Festival were asked to write a short song each celebrating the Welsh border country the choice of poetryranged widely and I chose two of Jo Shapcott’s evocative miniatures (still adding up to slightly less than the timing I had been requested to provide!). As I wrote them I started to make sketches for some more settings from the same collection and the Presteigne Festival of Music and the Arts very kindly commissioned this new larger song-cycle proper for their 2005 Festival. The original pair of poems form the third (Gwaithla Brook) and last (Cefn Hir) of the songs in which the eighth combines two poems Burl Hill and Newchurch. Throughout I have been aware of the sights and sounds of nature the character of the landscape and the sense of history and timelessness of this beautiful part of the world as reflected in Jo Shapcott’s poetry as well as (I hope) the wit and directness of her expression. The whole work though it has eleven songs still lasts only about 20 minutes the concision of the texts and the need to find musical equivalents to this was an important part of the concept of the piece.        John McCabe 2005

For solo Viola and Ensemble.Stuart MacRae's Equilibrium was commissioned by the Kreisler Ensemble with support from the PRS Foundation the RVW Trust the Britten-Pears Foundation and Christoph Trestler.It was first performed at the Abbey at Sutton Courtenay Oxfordshire 18th July 2012 given by Martin Outram (solo Viola) and members of the Kreisler Ensemble conducted by Matilda Hofman.