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Nico Muhly: Patterns

Nico Muhly: Patterns

Nico Muhly 's Patterns is a work in four sections for solo Organ. Patterns was commissioned by the American Guild of Organists for the 2014 Biennial National Convention in Boston, Massachusetts, U.S.A. ' Patterns is composed in four sections, each of which is sort of a rhythmic étude. The first (“Move Along”) is a perpetual motion machine with staggered and angular rhythms thrown between the pedals and the left hand. The second movement (“Palindromes”) is calmer and is centered around an idée fixe in the left hand while the right hand interjects and ornaments. The pedals, here, are a clumsy cousin, constantly upturning the sense of rhythmic stability. The third movement (“Similar”) is all to do with ways to divide up the bar: seven, eight, six, five, four — it’s all there. Then the finale (“Very Fast Music”) is a perpetual motion machine on its highest setting — manic and hyper, with hiccoughs offsetting the regularity of some of the rhythms. ' - Nico Muhly

SEK 239.00
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Nico Muhly: Clear Music

Nico Muhly: Clear Music

Written for cello, harp and celeste. Clear Music (after John Taverner) was written at the request of the cellist Wendy Law during the summer of 2002. Clear Music is an extended exploration of a single measure in John Taverner’s (1490–1545) motet Mater Christi Sanctissima. What I attempted to do in Clear Music was to suspend this measure for as long as I could imagine in a single texture: the bright clarity of the celeste and harp. As in the Taverner, I have structured Clear Music into a series of peaks featuring the highest registers of the treble voice—here, the cello. I remember very vividly performing this piece and being struck by how distant the treble was from the other voices - sometimes, there are spaces of over an octave between the treble and the alto - and I attempted to recreate the somewhat terrifying and exposed contours of these lines. The end result is, I hope, a prolonged and transparent recollection of the Taverner which exposes not only my appreciation for the music itself but also my response to performing it. Nico Muhly.

SEK 319.00
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Nico Muhly: Doublespeak - Chamber Ensemble

Nico Muhly: Doublespeak - Chamber Ensemble

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 by moments 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.

SEK 540.00
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Nico Muhly: Choral Collection

Nico Muhly: Choral Collection

This exclusive collection brings together 12 of Nico Muhly’s sacred works for mixed-voice choir. These vivacious, fresh and dramatic pieces will make an impact whether in the church or in the concert hall, and range from the intimate Lord, keep us modest when we claim to the effervescent Bright Star Carol, alongside service music such as Muhly’s Third Service. All are accessible to learn, and offer choirs a new slant on contemporary choral music at its very best.  "Choral music has always been at the emotional core of my musical output. Even when I’m writing large-scale orchestral works (or, indeed, chamber music), I always find myself returning to techniques and textures I’ve greedily stolen from centuries of music from Tye to Howells, early and recent. I try to design my own choral music primarily for use in worship, where the measure of the success of the piece is if it helps guide the listeners’ ears upwards and elsewhere, as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is, for me, an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year, but an anthem for Candlemas works only then, at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process, I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets, and represent a decade and a half of output." - Nico Muhly

SEK 319.00
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