Format : Score
SKU: PR.164001290
UPC: 680160036608. 8.5 x 11 inches.
SKU: HL.50494618
PER 2 PIANOFORTI, 2 ORCHESTRE DA CAMERA, TROMBE, TROMBONI, TIMPANI - PARTITURA.
SKU: HL.14015669
UPC: 884088455958. 8.5x11.0x0.112 inches.
Commissioned by the Havant Chamber Orchestra, and first performed on 16 June 1979 with Geoffrey Bridge, oboe and Peter Craddock, Conductor. Duration c. 13 minutes. Full score and parts are available on hire from the publisher.
SKU: PA.H07988
ISBN 9790260104471. 31 x 23.5 cm inches.
Piano Sonata No. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonin Jemelik, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Durer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.The work was first performed by Pavel Stepan in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
SKU: FP.FHP05
ISBN 9790570504039.
Peter Hope's Recorder Sonata is the most substantial piece in his growing body of work for the recorder, published by Forsyth. Hope has written and arranged for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other composers including John Williams and James Horner. His original compositions include the Suite: Ring of Kerry (which won an Ivor Novello Award in 1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, and a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble. His Bramall Hall Dances, for recorder and guitar/piano are published by Forsyth has become a standard repertoire work for the recorder.
SKU: BO.B.3414
English comments: Concertino for violin and string orchestra was composed in 1993. It is a pleasant score with a slightly virtuosic touch written with the idea of creating a relaxed atmosphere in which the soloist and the orchestra can display their technique and expressive capabilities. It is a work, similar in lenght to baroque concertos, and is divided into three movements, folowing the conventional form.: two fast movements around a slow one. Te first two movements -Allegro burlesco and Adagio cantabile- follow the ABA pattern. The third starts with a -cadenza- by the soloist which includes thematic material from the previous slow movement linking straight up to the -Presto- which uses as its main idea a more forceful version of the opening melodic sketch of the -Allegro burlesco- converted into three time. The work was specially creatied for the violinist Gerard Claret and the Orquestra de Cambra Nacional d'Andorra. Recordings: Hermitage Orchestra-Camerata St. Petersburg, violin: Sergey Malov, conductor: Alexis Soriano. Ensayo (ENY-2003). Jordi CervelloComentarios del Espanol:Concertino para violin y orquesta de cuerda es una obra compuesta en 1993. Se trata de una partitura amable y de cierto toque virtuosistico cuya principal preocupacion ha sido crear una atmosfera distendida en la que el solista y la orquesta puedan desplegar con espontaneidad sus capacidades tecnicas y expresivas. Es una obra de duracion similar a la de los conciertos del barroco y dividida en sus tres tipicos movimientos. Dos rapidos enmarcando uno lento. Los dos primeros -Allegro burlesco y Adagio cantabile- se desarrollan bajo el esquema ABA. El tercero inicia con una -cadenza- del solista que recoge material tematico del movimiento lento precedente para enlazar sin interrupcion con el -Presto- que utiliza como idea principal el dibujo melodico que abre el -Allegro burlesco-, pero mas decidido y a compas ternario. La obra fue compuesta expresamente para el violinista Gerard Claret y la Orquestra Nacional de Cambra d'Andorra. Grabaciones: Hermitage Orchestra-Camerata St. Petersburg, violin solista: Sergey Malov, direccion: Alexis Soriano. Ensayo (ENY-2003) Jordi Cervello.
SKU: HL.50494321
PER VIOLINO, PIANOFORTE, DOPPIA ORCHESTRA DA CAMERA - PARTITURA.
SKU: HL.50494272
RIDUZIONE PER 3 PIANOFORTI.
SKU: SU.50003240
Published by: Seesaw MusicFull score and parts available on rental only.
SKU: PR.466000660
UPC: 680160599226. 9 x 12 inches.
SKU: PR.46600066L
UPC: 680160599233. 11 x 17 inches.
SKU: GH.CG-6060U
SKU: HL.50489980
11.5x16.25x0.112 inches.
SKU: SS.50003240
SKU: HL.49016139
ISBN 9790001098717.
SKU: PR.16400261S
UPC: 680160038411.
Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.
SKU: FP.FHP06
ISBN 9790570504053.
The heartachingly beautiful Tallis Remembered is a timeless little piece composed by outstanding British composer Peter Hope for the 2013 William Alwyn Festival, where it featured a violin instead of the clarinet. The work was inspired by Wendy Cope’s wistful poem ‘Tallis’s Canon’ and is effectively a set of through-composed variations on Tallis’s well-known tune. A recording of the work can be heard on the CD 'Windblown: Sonatas for Wind Instruments by Peter Hope'. It has been regularly featured on Radio 3.Hope has written and arranged for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other composers including John Williams and James Horner. His original compositions include the Suite: Ring of Kerry (which won an Ivor Novello Award in 1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, and a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble. His Bramall Hall Dances, for recorder and guitar/piano are published by Forsyth Brothers Ltd. and have become a standard repertoire work for the recorder.
SKU: FP.FHP07
ISBN 9790570504091.
This short piece for recorder and piano, written for the 50th anniversary of the Stockport Recorder College, is an affectionate memory of the double decker trams the composer recalls from his childhood in the 1930s and 40s. The conductor rings the bell, the tram starts, picks up speed and away we go bringing memories of care free days some 80 years ago.Peter Hope has worked for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other leading composers including John Williams and James Horner. His original compositions include the Suite Ring of Kerry (which won an Ivor Novello Award in1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble, and an Oboe Sonata, recently published by Forsyth and written in memory of Evelyn Barbirolli.Hope’s Bramall Hall Dances, for recorder and guitar/piano is also published by Forsyth and has become a standard repertoire work for the recorder. Further recorder publications Geordie Tunes, Tallis Remembered and his Recorder Sonata are available from the same publisher.
