Michael Nyman

Thème du Film `The Libertine` / Variété Internationale / Partition / Agrafé /

Scored for Soprano and Organ. This work was commissioned by the Bath Festival Trust, and first performed in 1994 as part of the Bath International Music Festival. / Voix Et Orgue

Eos commandé Nyman d'écrire une partition pour le 10 minutes de film muet Manhatta, un morceau d'âge Jazz laçage ensemble des images de façon inter-Manhattan avec les (projetés) mots de Walt Whitman. A l'origine écrite pour grand ensemble, cette pièce est maintenant disponible pour voix de soprano et clarinette basse. / Soprano Et Clarinette Basse

Written for low (soprano) voice and string quartet. / Soprano Et Quatuor A Cordes

The Man Who Mistook His Wife For A Hat investigates the world of a person with visual agnosia such people ?see but do not see?. This Chamber Opera by Michael Nyman with libretto by Oliver Sacks ChristopherRawlence and Michael Morris was based on the book of the same title by Oliver Sacks and first performed in London on 27 October 1986.This full score edition contains introductions in English French German and Italian.Scored for Soprano Tenor Baritone Harp Piano 2 Violins Viola and 2 Cellos it has duration 70 minutes. Performance material is available to hire from the publishers.

Facing Goya Nyman's first full-length opera is written in four acts on a libretto by Victoria Hardie. Following it's first performance in 2000 it was revised in 2002 and again in 2014. Init's original arrangement intended for Nyman's own band the orchestration is as follows: five Violins two Violas one Cello two Double Basses two each Soprano and Alto Saxophones (doubled) Baritone Saxophone Flute Alto Flute Piccolo Trumpet and Flugelhorn (doubled) French Horn Bass Trombone (doubled) Tuba (doubled) Euphonium (doubled) and Electric Guitar. This work is scored for two Soprano Tenor and Baritone with Pianoreduction.

Setting the texts of Robert Herrick this work for Countertenor and Viol Consort was commissioned by Paulin Bündgen - Ensemble Céladon Grame cncm and Centre culturel de rencontre d'Ambronay. Score and parts available: CH84744

Composer's Notes:When I was asked to write a piece to celebrate the restoration of Michelangelo’s Mosè I returned to the paper written by Sigmund Freud on the sculpture which I had discovered by chance many years ago.Freud’s fascination with the Mosè began in 1901 when he visited San Pietro in Vincoli for the first time. A series of subsequent visits culminated in the publication of the Moses of Michaelangelo in 1914 from which I have usedtwo extracts to ‘frame’ the main body of my text which consists of selections from Michelangelo’s own letters. In 1505 Michelangelo was summoned to Rome by Pope Julis II and was commissioned to build a tomb which would reflectthe magnificence of the Pontiff’s reign. Forty years and four Popes later the tomb modified and scaled down due to a variety of financial and political changes of circumstance was completed. The letters give the impression ofan idealist at work: Michelangelo personally selected each piece of marble and supervised its transportation to Rome by his more worldly and capricious paymasters. His creative and artistic frustrations are mirrored by problems ofa more a practical nature; payment for both his services and the materials is erratic. At one point his is accused of embezzling funds. The complete text tells the story of an artists struggle and eventual triumph againstexternal circumstances. The Mosè by virtue of its very nature combines the elements of the physical and the spiritual with which Michelangelo challenged and eventually triumphed over the restraints of the context in which he hadto work. The lovingly selected and cared for marble in the hands of the unpaid exploited artist is transformed into something more substantial and eternal. Michael Nyman

Balancing The Books was commissioned by the swingle singers for the Bach 250th anniversary celebrations. The work uses material from the C sharp Major Preludes from Bach's two books of the 48 Preludes and Fugues. This forms part of a series of new works by leading European composers. There are no words the singers use their own syllables. Scored for SSAATTBB.