The sheet music for Nico Muhly's Doublespeak arranged for Chamber Ensemble and composed for the orchestral sextet 'eighth blackbird'. The piece is arranged for Flute (Soprano Recorder) Clarinet in B flat Percussion (Castanets Tenor Drum Pedal Bass Drum) Glockenspiel Piano Violin and Cello. It works for 2-6 players and this item includes the full score as well as the parts. Doublespeak had its debut at the Edlis Neeson Theatre in Chicago performed by the new musical six-piece 'eighth blackbird'. The piece is a slow and repetitive one punctuated bymoments of stark beauty. It is according to Muhly something of a tribute to the great Philip Glass the forefather of minimalist classical music. It takes implicit inspiration from his entire oeuvre but also explicitly incorporates portions of his most famous and valued works interweaving them inside a new composition that captures what 'eighth blackbird' do best.  The Doublespeak sheet music would be ideal for Chamber Ensembles looking to perform or practise minimalist music drawn from the 1960s and 1970s. If you love Philip Glass or Nico Muhly or both this composition is a real treat.

American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of?music with repetitive structures.?Façades is a work that describes superficial qualities. Philip Glass wrote this piece as part of the soundtrack for the film Koyaanisqatsi but it was not used and so became anindependent work. In fact it became a staple of live performances of the Philip Glass Ensemble during its era (1981). Originally its eerily flowing sonorities were to have accompanied visual scenes of New York?s Wall Streetapocalyptically deserted. The piece was given a new name Glasspiece #2 when it was choreographed for the New York City Ballet.This work is for Flute 1 & 2 OR Saxophone 1 & 2 with string ensemble Violin 1 & 2 Viola andCello. You will receive one of each with the set of parts.

Thomas Ades' Chamber Symphony Op.2 was first performed on the 24th February 1991 in Cambridge at the West Road Concert Hall. It was performed by the Contemporary Music Festival Ensemble for the Cambridge Festival of Contemporary Music conducted by the composer himself. Chamber Symphony Op.2 is a written for a chamber orchestra consisting of fifteen players.

per flauto dolce e basso continuo-4 Sonatas by Vivaldi for Treble Recorder and Continuo transcribed from the Violin Sonatas:Sonata in C Minor (RV 27 originally in G Minor)Sonata in C Major (RV 23 originally in G Major)Sonata in D Minor (RV 36 originally in B Minor)Sonata in F Minor (RV 8 originally in C Minor)

For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano

Thomas Simaku's Albanian Folk Song 'My Beautiful Morea' for Violin Cello and Guitar. Score and parts.

Phantasmagoria for Violin Violoncello and Piano was composed by Bent Sørensen in 2007. First performance by Trio con Brio 12 Aug 2007 in Roskilde Denmark.Programme note:My Piano Trio “Phantasmagoria” is in five movements. It all began with the fifth movement which originally was a tiny piece for cello and piano. After re-composing this little piece for piano trio I worked composed backwards – The fourth movement – third movement - and I finally got to the beginning of the piece. It all begins with the violin – solo – heavily muted but aggressive and gradually the cello andthe piano enter as shadows of the violin. The first movement ends in a dark shadow of an aria from my opera “Under the Sky”. All five movements are full of shadows of all kinds. Shadows of fragments and traces of movements appear in other movements. Music voices instruments appear behind each other as a play of shadows. “Shadow play” was the first title on my mind but a shadow play can be more physical – the shadow can come alive – alive behind the shadows. Phantasmagoria is a shadow play in darkness where contours of persons and music voices and instruments - create adventures behind each other. “Phantasmagoria” was commissioned by Franz Schubert Society Denmark and dedicated to Trio con Brio Copenhagen. (Bent Sørensen)

'...The present collection has been conceived right from the outset so as to form an organic component of and a supplement to the teaching of solfeggio. The original text and their relevant translations have been omitted with the intention that the pedagogical aim namely that which is achieved through solmization could be proprely emphasized. There is hardly any need to recommend these pieces for cultivation. Luckily enough solfeggio has become so wide-spread and in particular singing canons has gained such popularity that its praise would suggest an irony of the same kind as Erasmus' eulogy of foolishness. Nevertheless it cannot be left unsaid how immensely this domaincontributes to raising the musical standards of the greatest number of people possibile.' (Antal Molnár)