Tim Knight is an award-winning composer living and working in Yorkshire, Northern England, principally as a full-time conductor and composer. He was a chorister at York Minster under Dr. Francis Jackson and has since become widely known as an enthusiastic and dynamic Choral Director, a widely performed Composer, Music Publisher (Tim Knight Music, which includes the unique and very successful Accessible Choral Library Series) and a Choir Doctor (so say British Choirs on the Net!). He is also the author of a best-selling triology of choir and concert management books, which have been reviewed as 'must-haves' by industry professionals.
With over 200 works in print, and because his music is accessible, appealing and affordable, he has been lucky enough to build up a steady stream of performances in the UK and around the world with many sacred and secular choirs, distinguished organists and orchestras. Notably in the USA (Performances at St Thomas's 5th avenue, Church of the advent Boston, Boston St Paul's Cathedral, etc.), Canada (the 2002 RCCO Conference featured Genesis with Tim as Guest conductor,) Norway, Holland, Hungary and the Ukraine. His orchestral music has also been recorded by the Czech Philharmonic.
During 2007, both Stormscape and Portrait of a Capital were awarded prizes or special mentions in International Composers Competitions, and further works were awarded prizes in 2008. He has also been nominated several times for 'Elegy for an English Summer' in the Classic FM Hall of Fame.
In 2011, he was composer in residence at Clarke University Iowa, and in 2015 was on the judging panel of an International Choral Festival in Barcelona.
Most of Tim's music is the result of commissions by choirs, orchestras, other groups or individuals for all kinds of occasions - weddings, anniversaries, funerals, choral festivals, celebrating achievements, significant dates etc, etc - the list goes on! He is always available to discuss new projects and ideas so just get in touch and let the adventure begin! (Retracter)...(lire la suite)
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Set
of parts. 50 pages.
Duration 12'. Breitkopf
and Haertel #OB 5505-30.
Published by Breitkopf
and Haertel
(BR.OB-5505-30).
ISBN
9790004337806. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 12'.
Breitkopf and Haertel #OB
5505-19. Published by
Breitkopf and Haertel
(BR.OB-5505-19).
ISBN
9790004337776. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library).
Overture; Romantic. Full
score. 72 pages. Duration
12'. Breitkopf and
Haertel #PB 5505.
Published by Breitkopf
and Haertel (BR.PB-5505).
ISBN 9790004211519. 10
x 12.5 inches.
A
visit to the opera
whetted the composers
creative appetite to
explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 12'.
Breitkopf and Haertel #OB
5505-27. Published by
Breitkopf and Haertel
(BR.OB-5505-27).
ISBN
9790004337790. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 12'.
Breitkopf and Haertel #OB
5505-23. Published by
Breitkopf and Haertel
(BR.OB-5505-23).
ISBN
9790004337783. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 12'.
Breitkopf and Haertel #OB
5505-15. Published by
Breitkopf and Haertel
(BR.OB-5505-15).
ISBN
9790004337752. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Concert Overture No. 4
- Urtext based on the
Leipzig Mendelssohn
Complete Edition.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Christian
Martin Schmidt.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
8 pages. Duration 12'.
Breitkopf and Haertel #OB
5505-16. Published by
Breitkopf and Haertel
(BR.OB-5505-16).
ISBN
9790004337769. 10 x 12.5
inches.
A visit to
the opera whetted the
composers creative
appetite to explore the
fairy-tale-like theme of
Knight Raimunds love for
the beautiful mermaid
Melusine, which provided
the basis for
Mendelssohns fourth
concert overture. As
usual, Mendelssohn worked
out the composition in
his mind before
committing it to paper, a
task he most likely began
towards the end of March
1833. The works premiere
performance took place in
London on 7 April 1834;
the revised version was
given its first account
in Leipzig on 23 November
1835. Its ranking as No.
4 of the concert
overtures was assigned
around 1857 in a
posthumous edition.(Ralf
Wehner in the Study
Edition of the
Mendelssohn Work
Catalogue).
Orchestra SKU: BR.PB-5719 Fantastic Variations on a Theme of Knightly ...(+)
Orchestra
SKU:
BR.PB-5719
Fantastic Variations
on a Theme of Knightly
Character - Urtext.
Composed by Richard
Strauss. Edited by Nick
Pfefferkorn. Orchestra.
Partitur-Bibliothek
(Score Library).
Symphonic poem;
Late-romantic; Early
modern. Sheet Music.
Duration 43'. Breitkopf
and Haertel #PB 5719.
Published by Breitkopf
and Haertel (BR.PB-5719).
ISBN 9790004216569. 0
x 0 inches.
Strauss
had originally intended
that Don Quixotealways be
performed, if possible,
together with
Heldenleben, since Don Q.
in particular is only
fully comprehensible
alongside Heldenleben. To
date, Strauss's wish is
rarely respected. The Don
Quixote Urtext edition
now being published by
Breitkopf & Hartel can
assist here. Once again,
the new edition is based
on Strauss's own
engraver's model, helping
to clarify numerous
misunderstandings, and
facilitating the
correction of dozens of
traditional errors.
Furthermore, the woodwind
parts, previously
available only in
manuscript form, are now
appearing completely
engraved for the first
time.This new edition is
also being augmented by a
piano reduction of the
most important orchestral
passages for facilitating
the study of the solo
cello and viola parts;
these two solo parts are
also separately included
with the purchase of the
piano
reduction.
First
Urtext edition since the
original edition;
Evaluation of all
available manuscript and
printed sources; Detailed
preface giving the
genesis and reception
history; Detailed
critical report;
Facsimile pages.