Format : Study Score / Miniature
SKU: HL.48024099
ISBN 9780851627816. UPC: 888680706203. 9.0x12.0x0.21 inches.
SKU: HL.48022651
ISBN 9780851627748. UPC: 884088900205. 7.25x10.25x0.224 inches.
Commissioned as a ballet score for the New York City Ballet. In three movements: Cumnock Fair, Shambards, Shamnation. Inspired by the poetry of Edwin Muir.
SKU: HL.48024627
ISBN 9781784545208. UPC: 888680940812.
One of MacMillan's earliest successes was his first percussion concerto, Veni, Veni, Emmanuel (1992), firmly established with hundreds of performances to date. Percussion Concerto no 2 was therefore received with great excitement at its premiere in 2014 by Colin Currie and the Netherlands Radio Philharmonic. Like its predecessor, the second concerto is formed in a single, c25-minute span, albeit with contrasting sections, but with full orchestra scoring. The significant array of solo percussion is complemented by two orchestral percussion sections; notably the soloist makes use of a recently invented instrument, the aluphone. This edition doesn't include the solo part as a single edition.
SKU: HL.48024652
ISBN 9781784544621. UPC: 888680949167. 9x12 inches.
A major addition to the concertante trombone repertory, this single-movement work lasting 30 minutes was premiered in 2017 by Jörgenvan Rijen and the Royal Concertgebouw Orchestra, conducted by Iván Fischer. Press reviews were ecstatic: “...this magnificent concerto enriches the repertoire...The trombone sang, sang, sang...then suddenly a spectacular mating dance of four trombones à la Stockhausen. At the very end van Rijen and MacMillan struck me down completely: between the serene harmonies which came to a moment of rest, the trombone once more entered with a heart-breaking eruption...the wonderful beauty of despair...It is a concerto for eternity, and trombone players could use one.” - De Trouw.
SKU: HL.48020445
9.25x12.25x0.209 inches.
SKU: HL.48022887
ISBN 9780851627809. UPC: 884088945572. 9.0x12.0x0.27 inches.
Contents: Dance * Song * Song and Dance. Piano reduction by Stephen Gibson.
SKU: HL.48024117
ISBN 9781784540807. UPC: 888680714680. 9.25x12.0x0.32 inches.
Commissioned by the London Philharmonic Orchestra, Luzerner Sinfonieorchester, Bergen Philharmonic Orchestra and Adelaide Symphony Orchestra, and first performed in 2013 by Lawrence Power with the LPO, conducted by Vladimir Jurowski. Cast in three contrasting movements the work is expressive, energetic and highly virtuosic, culminating in a breathless Allegro pitting the soloist against the orchestra. A major addition to the canon of concertante works by this composer, and to the viola repertoire in general. Suitable for advanced standard performers.
SKU: HL.48024552
ISBN 9781784544546. UPC: 888680916701. 9.0x12.0x0.225 inches.
MacMillan's first percussion concerto Veni, Veni, Emmanuel was premiered to immediate acclaim by Evelyn Glennie and the Scottish Chamber Orchestra, conducted by Jukka-Pekka Saraste, at the BBC Proms in 1992. It swiftly established itself in the repertory of frequently performed new works, achieving over 500 performances worldwide to date. The work is in one continuous movement and is based on the Advent plainsong of the title. On one level the piece is a purely abstract work in which all the musical material is drawn from the 15th-century French Advent plainchant; on another level it is a musical exploration of the theology behind the Adventmessage, but with a liturgical detour to the Easter Vigil at the very end.
SKU: HL.48025401
UPC: 196288200826.
Berserkers were special warriors common to the Vikings and the ancient Celtic tribes who would work themselves into a frenzy with mead, mushrooms and hyperventilation to achieve performances of ferocious courage in battle. Although deadly in combat, the berserking process was paradoxically a suicidal one since, having lost their senses, they were vulnerable to a more stealthy attack. The initial burst of inspiration for this work came in 1989 after watching a soccer game in which Celtic Glasgow turned in a characteristically passionate, frenzied but ultimately futile display against Partizan Belgrade. But whatever the genesis of the piece, it is essentially abstract. The relationship between soloist and orchestra changes from section to section. In the opening fast music they are in argument and opposition most of the time, each striving to dominate. In the slow middle section the piano is very much to the fore and in the final quick section they become equal partners.
