Spartiti per ensemble misto

This piece takes its title from a painting by Daniel Maclise (1806-1870) in the Manchester City Art Gallery. Its subject is the mock Celtic Legend of a water nymph who falls for a mortal and struggles...

Instrumentation: 1(=picc).0.2(II=bcl).1 - 2110 - perc(1): party siren/susp.cym/splash.cym/glsp/2 t.bells/ timp/BD/tgl/c.bell/tpl.bl/2 bongo/tom-t/crot/vib/talking drum/wdbl - pno - 2 vln.2 vlc

Full of oddities – whirring ratchets, raucous off-stage clarinets, wonky waltzes –that brilliantly capture the humour and nostalgia of the Tom Phillips drawings that inspired them. The Dai...

Instrumentation: 1(=picc+bfl).1(=sop.rec+ca).2(I=Ebl.II=bcl).ssax - hn - perc(3): vib/2 susp.cym/2 conga/bongo+djembe/BD/2 wdbl/2 tgl/tam-t/mar/cyms/mcas/tam-t/2 timp/glsp/crot/t.bells harp - pno - ce...

Instrumentation: picc.bcl.cbsn - tpt.trbn.tuba - perc(2): xyl/2 vib/crots/3 tom-t/SD/3 BD/mar - pno - 2 vln.vla.vlc.db

fl(=picc).ob.cl(=Eb+bcl).bsn - hn.tpt.trbn - perc(1): susp.cym/hi-hat/SD/BD/4 tom-t/mcas/police whistle/slide whistle/mar/vib/xyl/glsp - pno - harp - 2 vln.vla.vc.db

Celestial Pied Piper is the final work in Oort Cycle; 'Following Oort' and 'Fanfare to the Standing Dead' are the other works in the trilogy. With the visible presence of Halle Bop, the comet, in 1991...

Instrumentation: 1(=picc).1.1(=bcl).1(=cbsn) - 1110 - perc(2): SD/whip/sleigh bells/cyms/2 anvil/2 c.bell/4 congas/3 gong/2 tam-t/tabla/vib/cast/ch.cym/almglocken/TD/BD/metal dustbin/2 rin/t.bells - p...

This piece was commissioned by the City of Birmingham Symphony Orchestra and the Birmingham Contemporary Music Group as part of Julian Anderson's Composer-In-Association residency, with generous finan...

This work was commissioned by the Festival d'Automne a Paris, with contributions from the Ernst von Siemens Music Foundation, Opera National de Paris and Ensemble Modern, with contributions from the F...

The Bach Machine was commissioned by BBC Radio 3’s Educational Programme 'The Music Machine' in 1997. It uses the so-called 'Royal' theme by Frederick the Great which provided the starting point for B...

For violin, harp, and organ The violin has very fluid, long lines throughout the piece, while the harp presents wonderful themes under the violin. Yet the organ is the center of this piece. Unique har...

Classic hymns have been arranged for the flexible Sounds of series. For solos and ensembles, this collection brings together great hymns of the faith. Whether it's a soloist using a book (accompanied...

We are pleased to announce the launch of the Leonard Bernstein Young People's Classics, a new series for the music classroom that presents essential selections from the Leonard Bernstein recorded libr...

Grab those metals, woods and membranes because it's time for some percussion discussion! Actively involve your students with easy-to-follow read and play parts to accompany familiar folk songs, marche...

A children's classic, now available in this version for Soprano, Boy Soprano and Chamber Ensemble. Duration ca. 18 minutes. Also available for Orchestra (Score #50482506) and Vocal Score (50482453).

This work is a set of free variations drawn from a 13th-century Chinese drama by Kuan Han-Chimg. The complex cello and percussion writing focuses on the timbres, textures and fiddling techniques of Ch...

Written in 1999, this single movement work was commissioned by the Winsor Music Consortium - a group made up of 12 oboists and four chamber music festivals. The premiere took place in February 2000. 2...

Fling, a contraction of FLute and strING, owes its name partly to the violin parts, which imitate the flute, as well as the short length of the piece and its fast pace.

Der 1993 entstandene, etwa vier Minuten dauernde Volksliederzyklus für gemischten Chor und Klarinette in B ad libitum, beschreibt in munteren Weisen, wie auf dem Jahrmarkt früher gehandelt, gekauft, v...

This piece was written for a group of my students at the Katholieke Universiteit in Leuven (Belgium). The set of parts, two melodic with two 'echoing' them and three 'keyboards', is not strictly co-or...

The title of this piece is taken from the fourth verse of a poem called 'Vertical Spaces' by Colin Johnson. The piece is demanding for the performer, who has to both adhere to Finnissy's detailed inst...