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Showing 1 - 23 of 23 matches in All departments
for SATB and organ Commissioned by King's College, Cambridge, for the 2016 Festival of Nine Lessons and Carols, This Endernight is a tender, peaceful setting of well-known fifteenth-century words. The recurring melody has an appropriately lilting feel, and Berkeley employs artful textural juxtapositions, with solo lines always opening out into a rich, full-choir sound for the 'lullay, by-by' refrain. The organ part provides colour and support for the voices, with sparkling semiquavers leading into the final, vibrant section.
for SATB and organ This setting of the Te Deum was written for the Choir of Lincoln Cathedral Choir to commemorate the 800th anniversary of the signing of Magna Carta. It opens with a dialogue between the organ and strident unison choral lines, before moving on to the Sanctus, with alternating tutti and solo passages. Powerful choral lines and jubilant organ flourishes marry perfectly with the well-known text to result in a truly laudatory work.
for SATB and organ This anthem sets a text by the seventeenth-century Bishop Thomas Ken relating the life of St Andrew. The vocal parts are narrative in style and coloured by decorative organ passages. This setting would be well-suited for use on Saints' Days.
for SATB and optional organ This anthem was commissioned for the Enthronement of the 105th Archbishop of Canterbury, the Most Reverend and Right Honourable Justin Welby, and was first performed during the Enthronement ceremony at Canterbury Cathedral in March 2013. It sets a text from The Rule of St Benedict, translated by Michael Berkeley, counselling the recipient to 'receive willingly and carry out effectively your loving Father's advice'. The vocal lines are simple, flowing, and eminently singable, with alternating sections of unaccompanied chant and joyous outbursts from the full choir. The supportive organ part may be omitted if preferred.
for SATB with divisions unaccompanied This heart-felt setting was originally included in the popular 'A Garland for Linda', a celebration of the life of the late Linda McCartney. Combining a poignant text adapted from Milton, Shakespeare, and Elizabeth Speller with emotive harmonies, this is an attractive piece by one of Britain's foremost contemporary composers.
A short carol for SATB unaccompanied, or with organ or piano.
Suitable for solo viola, this piece is a sympathetic glance at the Greek character and the variations take on a quasi-improvisatory feel.
This work and its companion, Inner Space for solo flute, are small-scale works which would be useful repertoire pieces, bearing in mind the need to provide compatible items for groups playing the Debussy flute/harp/viola sonata.
The work is in three movements - the first is fast and aggressive and is based on a sequence that repeats throughout the rest of the piece. The second movement is, by contrast, slow and would seem to have been bruised by the first. The final movement renews the aggressive vehemence of the opening and grimly combines it with material from the slow movement. The work has, therefore, an A B A pattern.
Presents a suite in six movements for unaccompanied cello, inspired by the composer's travels in Spain, Portugal, and Morocco. This title incorporates fragments of traditional melodies and the composer chose the cello as a suitable instrument to depict the heat, richness, and cruelty that are part of Spanish history.
for solo guitar This little impromptu was written in 1983 as a homage to Julian Bream on his 50th birthday.
for clarinet and strings (2 violins, viola, cello) The music is based on a tune suggested by the melodies and rhythms of sixteenth-century carols and lullabies. The strings are treated as a separate concertante unit.
for brass quintet (2 trumpets, horn, trombone, tuba) A work in five movements, each characterizing a poem by Chaucer. 'Triton's Trumpets', acts as an overture to the suite of pieces, is mainly rather rustic and, as its title implies, much of its music is in the nature of fanfares. Next is a haunting slow waltz, then a very short and very vigorous fanfare. In the fourth movement, 'The Sorrowful Knight', each instrument expresses its individual sorrow. Finally Chaucer himself chatters in a jaunty, innocent style.
This evocative solo piano piece looks back, as though in some troubled dream, to fragments of Purcell and Tippett. The widely spaced opening notes are interrupted, after only eight bars, by a quick and relentlessly turbulent passage. A brief reference to the opening of Tippett's Fourth Symphony leads into a slower, more expressive section; a predominantly mysterious, even glassy sound world from which emerges the poignant notes of Dido's Lament from Purcell's Dido and Aeneas, now at last momentarily in its correct juxtaposition. Finally, a tiny fragment of the music is spun obsessively until it falls out of control and back into the carefully placed notes of the opening.
A work in three contrasting sections, each reflecting a mood of Wilfred Owen's poem of the same name. The first depicts the 'strangeness' of the meeting ' . . . Down some profound tunnel', and the second portrays the viciousness of war with violent, jabbing rhythms. This leads directly into a concluding chorale-like movement in which a kind of peace is attained, echoing the closing words of the poem 'Let us sleep now . . .'.
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