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Say My Name - Brass Quintet
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One last bar then Joe can sing
Percussion-Quintett - Digital Download SKU: S9.Q50078 A Homage to Deagan for per…
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Percussion-Quintett - Digital Download SKU: S9.Q50078 A Homage to Deagan for percussion ensemble. Composed by Gavin Bryars. This edition: score and parts. Downloadable, score and parts. Duration 20 minutes. Schott Music - Digital #Q50078. Published by Schott Music - Digital (S9.Q50078). One Last Bar Then Joe Can Sing (1994) was commissioned by the Arts Council of Great Britain for the percussion quintet Nexus, and is a reflection on aspects of percussion history, both personal and musical. The members of Nexus are my friends (I played in the Steve Reich Ensemble along with Russ Hartenberger in 1972, the year after Nexus was formed). The piece aimed to demonstrate how a fine percussion ensmeble can be as musically expressive and subtle as, say, a string quartet. The piece starts from the last bar at the end of the second act of my opera Medea, a very short coda for a quintet of untuned percussion instruments during which the curtain falls. In this piece, however, this one apparently innocuous measure is progressively fragmented until it is taken over, little by little, by the addition of tuned percussion instruments. Eventually two metallophones (crotales and songbells) play aria-like material with bows, occasionally joined by the xylophone, and accompanied by marimba and xylophone ostinati. The piece ends with a coda in which phrases are passed from bowed vibraphone to bowed crotales, then to bowed songbells, supported by tremolos on the marimbas. The rare 3-octave songbells that Nexus owns is one of the American instrument maker J. C. Deagan's particularly fine instruments. The piece is effectively a kind of homage to Deagan, the Stradivarius of the tuned percussion world, who collaborated closely with Percy Grainger in the development of tuned percussion music between the wars. The allusions in the title are obvious: the one last bar is the last measure of music from my opera; the song is that of Deagan's songbells. In the case of Joe I wanted to link my father, Joe Bryars (who was a good amateur baritone singer) with Joseph Deagan and his songbells. However, some time after I had written the piece, Nexus's Bob Becker took me to one side and told me (gently) that the initial J in Deagan's name, in fact, stood for JohnGavin BryarsPercussion 1: Crotales (with bow), Chocolo, Mark Tree; Percussion 2I: Song Bells (with bow), Chinese Cymbal, 3 Wood Blocks; Percussion 3: 2 Cymbals, 2 Triangles, Xylophone, Marimba (shared with Marimba II), Vibraphone (with bow); Percussion 4: 2 Cymbals, 2 Gongs, Marimba I (with low F), Maracas; Percussion 5: 2 low Tom-Toms, Marimba II (to low A).
$45.99
41.88 €
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Gavin Bryars
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One last bar then Joe can sing
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Schott Music - Digital
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SheetMusicPlus
Much Balding On The Marsh
3 Fl. Afl. BFl. - Intermediate - Digital Download SKU: F2.FM586 Composed by Geoff W…
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3 Fl. Afl. BFl. - Intermediate - Digital Download SKU: F2.FM586 Composed by Geoff Warren. A lively flute quintet. Score and parts. 25 pages. Forton Music - Digital #FM586. Published by Forton Music - Digital (F2.FM586). ISBN 9790570484850.This piece was written for Elisabeth Hobbs for use on her Flutes Inspired courses for adult players. I worked with her on a jazz flute day with one of her groups and this had taken place in Marsh Baldon in rural Oxfordshire. This peculiar name kept buzzing around in my head and eventually collided with the memory of a classic BBC Radio comedy show, Much Binding in the Marsh. So, as the piece progressed I was happy that it took on a bit of a vintage, jaunty, radio comedy lilt, with a fairly episodic structure - themes coming in and out, perhaps like characters in a comedy - although I wouldn't go so far as to say the piece is 'humorous'. The harmonic and rhythmic language is somewhere between jazz and 'fusion' whilst, I feel, maintaining a sort of BBC archive decorum.
$12.95
11.79 €
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Geoff Warren
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Much Balding On The Marsh
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Forton Music - Digital
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SheetMusicPlus
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