1857 research outputs found
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Sarabande
No full textFor soprano saxophone and piano, duration 4 minutes. This work has been recorded by Martin Robertson (saxophone) and Ian Brown (piano) (NMC, D024M) see https://nmc-recordings.myshopify.com/products/mark-anthony-turnage-on-all-fours. This recording is now available on YouTube, please see the video tab below
Some days
No full textFor mezzo-soprano and orchestra, duration 15 minutes, texts by Joseph Kariuki, Bloke Modisane and James Baldwin: I) Come Away, my Love; II) Lonely; III) Tango; IV) Some Days; V) Blues: Now I am Absolutely Alone, Forever.
This work was commissioned by the David Cohen Charitable Trust for the Orchestra of the Royal Opera House, Covent Garden, who gave the first performance with Cynthia Clarey (mezzo-soprano) and conductor Bernard Haitink at the BBC Proms on 21 July 1991.
It has also been recorded, by Cynthia Clarey with the Chicago Symphony Orchestra conducted by Bernard Haitink (Decca Classics, 4688142) see https://www.deccaclassics.com/en/catalogue/products/turnage-some-days-4520. This recording is now available on YouTube, see the video tab below
Caduceo
No full textFor two pianos. This piece won the 3rd Composition Competition at the International Spring Orchestra Festival in 2015
William Barclay Squire and collection-building: the view from the Royal College of Music
No full textThe little that has been written about the librarian William Barclay Squire (1855–1927) naturally concerns his work as head of the music collections at the British Museum. His long tenure as the first librarian of the Royal College of Music is no less worthy of examination. An overview of Squire’s appointment to the post is given and, through the use of case studies, the specific methodology he applied to the RCM collections and the implications of Squire's actions that may still be felt today
Up for grabs
No full textFor jazz trio and orchestra, duration 25 minutes. This work celebrates a historic Arsenal victory over Liverpool in 1989. It was originally commissioned by the Barbican Centre to be premiered alongside the UEFA European Championship, and was first performed on 5 November 2021 by Laurence Cottle (bass), Peter Erskine (drums) and John Parricelli (guitar) with the BBC Symphony Orchestra conducted by Ryan Bancroft
Salty Sarah
No full textMini opera, duration approx. 8 minutes. Libretto by Alexia Anastasiadis. "What happens when a female librettist and male composer who see things very differently are thrown together? Salty Sarah explores the unspoken tensions of male-female relationships against the backdrop of an intrusive fishing village."
This work was given as a Foyer Performance at the 2012 Tête à Tête Opera Festival. A video is available at the 'Official URL' link below
D.E.A.
No full textD.E.A. (Don't Enable America) is written for trumpet, accordion, and electronics and its duration is approximately 4 minutes. It was composed as part of the National Portrait Gallery's Photographic Portrait Prize music project.
A recording is available on the the composer's personal website at: https://dimitriscarlato.com/extras_i/contemporary-classic-music
Dragon
No full textFor piano quintet, duration 10 minutes.
A Brighton Festival commission, this piece was first performed by Leon McCawley and the Emperor Quartet in the Music Room of the Royal Pavilion on 8 May 2006. It was first published by New Voices BMIC and remains a part of their collection.
Composer's programme note: "Dragon was conceived with the performance space very much in mind, adding the dimension of sound and the sensation of movement through time to the decorative fantasy world of dragons and magical beauty of the Royal Pavilion. The piece can stand alone, but I like the idea for this performance that the surrounding visual beauty can be viewed at the same time as listening to the music. The dragon is a creature that appears in folklore throughout the world and has been associated with many qualities that are often opposed, for example, fire and water; earth and air; good and evil; serenity and violence. The work is built around paradox and explores extremes of temperament, spirit and idea through unified musical material.
Rat-race
No full textFor chamber ensemble (flute doubling piccolo, Bb clarinet, percussion, piano, violin, cello) duration 5 minutes.
This piece was written for performance by the Composers' Ensemble at the Brighton Festival on 20 May 2000.
A recording is available by the Composers' Ensemble conducted by Peter Wiegold (NMC D076): https://nmc-recordings.myshopify.com/products/various-the-hoxton-13 (also available on YouTube: see the video tab below). A Gramophone review of this recording is available here: https://www.gramophone.co.uk/review/the-hoxton-thirteen. This work was originally published by BMIC New Voices and remains a part of their collection