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Brightest and Best

“Brightest and Best“ is a lively arrangement for TTBB chorus and piano of the sturdy American Hymn tune “Star in the East“. A banjo-inspired piano accompaniment provides sparks while the tune is presented in unison, in canon, and adorned with mirrored counter-melodies.

DKK 56.00

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Tongue Twisters

Tongue twisters are fun for all ages. This setting of three includes: “Mules” an enticing tango; “Betty Botter's Butter” with stylistic hints of Gilbert and Sullivan, includes a canon with a mid-stream change of tonality, and finally, a quasi-recitative; “Tree Toad,” a good old down-home country tune.

DKK 60.00

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Sing, Laugh, Love

Written in memory of a loved one, this piece celebrates a love of life and a love of music. Sections of text are taken from the traditional hymn How Can I Keep from Singing and the use of Pachelbel's Canon in D as an overlay reflect the universal nature of music and its connection to the human spirit.

DKK 52.00

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Two French Carols

Two traditional French carols, Berceuse de Noël ('Entre le boeuf et l'âne gris') and Nouvelle agréable ('Nouvelle agréable un Sauveur Enfant nous est né') arranged forunaccompanied mixed voice choir, with no divisi. These very approachable carols based on attractive melodies offer textural variety, including the use of canon, and would make an effective addition to carol services andconcerts.

DKK 73.00

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Offertorium

Composed in 1986 for the wedding of friends of the composer’s, and first performed by him at the marriage ceremony. The manuscript recently came to light as the couple celebrated their Silver Wedding Anniversary. This exquisite miniature is a welcome addition to the canon of reflective nuptial organ pieces by James MacMillan, begun with Wedding Introit and White Note Paraphrase. A recording by Kerry Beaumont was recently released (Herald HAVPCD377).

DKK 107.00

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Lassie, Wad Ye Loe Me?

A touching setting of an anonymous love poem in broad Scots, this part-song was composed for the wedding of some friends of the composer. A welcome addition to the canon of MacMillan's secular choral works the piece displays scoring similar to that in his Burns arrangement 'So Deep': the attractive folk-like melody is clearly stated, sometimes with full harmony and in other places picked out by supporting drones. Multiple divisi are scored in all voices, and also an optional soprano solo. Suitable for intermediate standard choirs.

DKK 69.00

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Cello Counterpoint : Version For Solo Cello and Tape

Cello Counterpoint is scored for eight Cellos and can be played by a soloist with the other parts pre-recorded (This tape is available from the Boosey & Hawkes rental library.) Alternatively,the piece can be played by a Cello Octet. (There are differences in the distribution of parts between the two versions.) The piece is in three movements: fast, slow, fast. The first and last movements are both based on a similarfour-chord cycle that moves ambiguously back and forth between C minor and E-flat major. This harmonic cycle is treated extremely freely, particularly in the third movement. The second, slow movement, is a canon in E-flatminorinvolving, near the end of the movement, seven separate voices. The piece is a little more than 11 minutes in duration and was co-commissioned by the Koussevitzky Foundation in the Library of Congress, the RoyalConservatory in The Hague and Leiden University, for Cellist Maya Beiser.

DKK 230.00

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Triple Quartet

Note by the composer:Triple Quartet is for string quartet and two pre-recorded quartets, or three live string quartets with no pre-recording. The piece is in three movements, fast-slow-fast, and is organized harmonically on four dominant chords in minor keys a minor third apart: E minor, G minor, Bb minor, C# minor and then returning to E minor to form a cycle. The first movement goes through this harmonic cycle twice with a section about one minute long on each of the four dominat chords. The result is a kind of variation form. Rhythmically the first movement has the second and third quartet playing interlocking chords while the first quartet plays longer melodies in canonbetween the first violin and viola against the second violin and cello. The slow movement is more completely contrapuntal with a long slow melody in canon eventually in all 12 voices. It stays in E minor throughout. The third movement resumes the original fast tempo, maintains the harmonic chord cycle but modulates back and forth between keys more rapidly. The final section of the movement is in the initial key of E minor and there the piece finally cadences.” Steve Reich, 1999

DKK 332.00

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The Boosey Voice Coach : Singing in German

The Boosey Voice Coach is an entirely new concept in vocal training. Not a self-teaching manual, and not filled with off-putting diagrams, this series is a wholly practical guide to singing - learning about technique and interpretation through the repertoire itself. Each volume is devoted to singing in one particular language or to singing in a specific context, such as musical theatre or oratorio. In each volume of the series, works from the vocal canon have been selected specifically by Mary King for their technical and musical challenges. Each piece is discussed at length, starting with the words ('Text' - including a literal translation as appropriate), moving togeneral advice about how the song might be approached ('Notes'), and then addressing the technical difficulties the music presents ('Skills'). Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies.German can seem like an awkward language to sing in - there are just too many consonants! How do you get your tongue around them? And there are lots of regional differences in accent: is there a 'correct' pronunciation? What exactly is an Umlaut? These issues and more are covered in this book, which contains settings from some of the masters of song-writing in the German language.

DKK 235.00

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Britannia : Hawkes Pocket Scores HPS 1446

Britannia was written in 1994 as a celebration of a major force in our musical life, the British orchestra. The work fulfils a commission from British Telecommunications plc with the Association of British Orchestras as part of the BT Celebration Series, and provides all the major UK orchestras with a new concert overture for performance in the 1994/95 season. Britannia is a ten-minute orchestral fantasy based on ‘patriotic themes’. There is no programme of story as such but the tapestry of popular melodies and resonant allusions, given their new and unfamiliar contexts, may provoke some surprising scenarios in the mind of the listener, particularly at a time when petty chauvinismthreatens to rear up once again throughout Europe. The piece grows out of a short sketch written earlier this year, Mémoire Impériale, which is based on a march tune by General Reid, an 18th century British army officer who established the music department at Edinburgh University. This theme and the ‘imperial’ themes of Elgar and Arne are thrown into a volatile concoction with other materials – an Irish reel (which becomes a jig), a Cockney drinking song, other march tunes and a hazy Celtic modality. All the main ideas are presented in a quick and stark succession during the fast opening section. The slow middle part begins with a serene canon which is gradually undermined by military allusions on brass and percussion. This confrontation leads to the work’s climax followed by an unsettled coda. Britannia is dedicated to Libby MacNamara of the Association of British Orchestras.

DKK 209.00

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This Child of God : A jolly Christmas carol

This lively carol was commissioned in 2005 by Lichfield Cathedral Special Choir (now called the Cathedral Chorus) to celebrate the birth of Hannah Scriven and Holly Mason, the daughters of the two cathedral organists at thattime. The words were specially written by Tony Barnard, the then Canon Chancellor at Lichfield, and a member of the choir. This carol, whilst not entirely foreign to my normal style, touches more ‘country andwestern’/popular buttons than I am in the habit of touching. But I wanted to write a tuneful piece which swayed and danced and reflected the colourful imagery of Tony Barnard’s text. Recommended recording:Comeout, Lazar – The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College, Cambridge and Claire Innes-Hopkins (organ), directed by Sarah MacDonald. Text: This child ofGod, who’s born on Christmas day, whom shepherds view, to whom kings homage pay, is called to be a shepherd and a king. Sing alleluias, praise this wondrous thing. This child of God isshepherd, born to lead, through pastures green, by banks of golden reed; nor left, nor right, but ever on the way, which leads to Calvary and endless day. This child of God, this Son ofDavid’s line, is root of tree, a shoot, a fruitful vine, it shelter gives to all who see the way which leads them to the cross and Easter day. This child of God, this many spangled star, is light’ning flash which dazzles near and far; bright light to guide our feet along the way, that leads to Calvary and endless day. This child of God is called to save mankind, to openeye and ear, the heart and mind; to heal, and make the lame man leap and play along the road that leads to Easter Day. This child of God, let angel voices praise. Give God the glory, live hisloving ways. Let peace on earth o’er come our worldly strife through all who walk his road throughout their life. Tony Barnard