Kenneth Hesketh

Une suite de concert de trois pièces pour piano, clarinette et violon. Le compositeur a créé des images aural concis : fantaisiste, spirituel et pointu, ils font un ajout intéressant le répertoire de musique de chambre contemporaine. / Clarinette, Violon Et Piano

Kenneth Hesketh's vibrant setting of a joyful medieval macaronic carolWritten for Simon Halsey and the City of Birmingham Symphony Orchestra and Chorus here in a version for mixed voices and Organ.

(For Christmas). German folk song arranged by Kenneth Hesketh.  Scored for Unison Voices and piano. German text.

Bouncy scousers Atomic Kitten rués sur le devant de la scène à la fin 1999, lorsque leur premier single ' Maintenant ' a sauté dans le Top 10. ' Dès maintenant ' est une collection de vivacité mélodies pop et de la danse qui inclus tous les singles ainsi que la belle ballade, ' Berceau ' l'album des filles. Le recueil de chansons est arrangé pour piano, chant et guitare, avec des paroles complètes et accords dans un recueil de chansons de 72 page. / Piano/Vocal/Guitare (PVG)

Influencé par une série d'impressions de bois gravés intitulé ' Opus ' par l'artiste russe Naum Gabo, les trois mouvements de cette pièce reflètent les divers Etats résultant des dessins linéaires simples flottantes contre les arrière-plans sombres, marbrées, avec des lignes blanches, faisant écho à l'effet de la lumière. Influences constructiviste de Gabo basés à l'utilisation d'un éclat de verre et de la transparence grâce à dans la musique, qui est brillamment innovateur et forward looking dans son approche. / Flûte Traversière

Kenneth Hasketh's arrangement of We Three Kings is a song for Children's Voices optional SATB Choir and Piano Accompaniment. The words and music were written by John Henry Hopkins Jr. while this piece was commissioned by Making Music. A full performance lasts around 4 minutes 30 seconds. This carol may be performed without SATB Chorus by just Children's Voices and Piano or without Children's Voices by SATB and Piano alone.

For Children's Choir SATB and Piano. This is a lively setting of the Czech folk tune incorporating Maclom Sargeant's text.

'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.

Infernal Ride is mercurial and virtuosic reflecting the mad-cap chase of Ichabod Crane’s final ride on his horse Gunpowder in the story by Washington Irving namely The Legend of Sleepy Hollow. Often an atmosphere of driven fear pushes the music forward only briefly stopping for breath. The work closes with flourishes in rapid succession perhaps with the hapless Ichabod meeting his unfortunate end! Brass Band Grade 5: 1st Section Duration: 7 minutes.Infernal Ride has been recorded by the Leyland Band conducted by Jason Katsikaris and is available on the CDPenlee.             

Chacun des ' Trois Miniatures japonais ' est un nouveau défi pour le pianiste : dans chaque pièce, une technique de jeu différente est développée de manière subtile et concentrée. / Piano

'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.

Prenant son point de départ du 'Grandes Plaines du Jour' XVIIe siècle philosophe-Cyrano de Bergerac du poète, Hesketh puissamment fusionne une vaste gamme d'exécution et de techniques de composition dans ce travail de 12 minutes pour violon seul. Inspiré par l'imagination de Bergerac d'autres mondes et sociétés utopiques, le travail explore timbres et plages extrêmes tout en utilisant des techniques telles que la main gauche pizzicato et naturel harmoniques. Open-cinquième matériel, ce qui est naturel de l'instrument, est important et courts duos alternant entre arco et figures pizzicato ajoutent encore une autre dimension. / Violon