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Cheryl Frances-Hoad: My Fleeting Angel

Cheryl Frances-Hoad's My Fleeting Angel for Piano Trio.

SEK 350.00

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Cheryl Frances-Hoad: My Day In Hell

Cheryl Frances-Hoad's My Day In Hell for String Quartet.

SEK 385.00

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Tomorrow shall be my dancing day

A setting of this traditional text for upper voices and organ. A setting of this traditional text for upper voices and organ.

SEK 92.00

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Gary Carpenter: Blue

Gary Carpenter's Blue for Solo Flute. Programme Note: The last unaccompanied monophonic instrumental piece I wrote was for Tuba and that was in my student days. I have avoided the medium ever since. Holly Melia's request for a solo piece consequently raised a number of issues for me: mainly fear and apprehension and how and where to start. Debussy's wonderful but intimidating essay in this genre didn't help. The unexpected impetus for starting Blue though was Holly's asking my lighting preference for the first performance. 'Blue' was my instinctive response and the more I thought about the colour blue, the more it seemed to me that this might be where the piece was headed. The 'blues' it is not however. But it does glance at: the sea, the sky, Yves Klein, sadness, Fontana's Copia, Vishuddha, Alice, Picasso and more. Blue lasts approximately 3'17". A lighting plan is indicated in the score but is entirely optional. Blue is written to be performed from memory.

SEK 128.00

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Philip Cashian: Firewheel

Philip Cashian 's Firewheel for Flute, Clarinet, Vibraphone, Violin and Cello. Score and parts. "The title Firewheel is borrowed from the painting of the same name by British artist Bryan Wynter (1915-1975). In recent years I've been fascinated by his brilliantly coloured late abstract paintings and their allusion to patterning found in the natural world. My piece is playful in character, conceived in layers and grows out of repetition, line and ostinati." - Philip Cashian

SEK 583.00

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Cheryl Frances-Hoad: Commuterland

Cheryl Frances-Hoad's Commuterland for Solo Piano. "Commuterland was written directly after I had had to do a long commute every day for a week for a project I was working on. The frustration of rush hour, and being caught behind crowds walking slowly through underground tunnels is expressed in this piece! At the same time I was listening to a lot of Bartok, and the repetitive motivic cells and harmonies are in part a hommage to this composer, who is one of my idols." - Cheryl Frances-Hoad

SEK 157.00

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Cheryl Frances-Hoad: Excelsus

Cheryl Frances-Hoad 's Excelsus for solo Cello. " Excelsus takes the form of a suite, each movement being based on a passage from the Requiem mass text. Although I spent many hours refining my interpretation of the words, the work is ultimately a more instinctive reaction to the evocative language of the excerpts. However, my stance was always totally atheistic, and this infiltrates everything from the mood, through the disregard for the text’s order, to the instrumentation (the use of a lone figure, which I viewed as a musical equivalent to the ‘first person’, offending against the liturgical norms which are concerned with people as a community). Musically the entire work is based on two themes, one melodic (the Rex Tremendae or ‘King of Awful Majesty’ theme, which is heard at the very opening) and one chordal (the Lux Aeternum (Light eternal) chords, not revealed in their pure form until the pizzicato passage that concludes the suite). The order of the movements is as follows: Requiem Aeternum (Grant them eternal rest) Kyrie (Lord, have mercy) Tuba Mirum (Hark the Trumpet) Sanctus (Holy, holy) Dies Irae (Day of Wrath) Agnus Dei (Lamb of God) Quid Sum Miser (What shall I, a wretch, say then?)" - Cheryl Frances-Hoad

SEK 206.00

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Cheryl Frances-Hoad: The Dreams That Fly From Me

Cheryl Frances-Hoad 's The Dreams That Fly from Me for solo String Quartet and String Orchestra. Score. "The Dreams That Fly From Me is a ten minute work for solo string quartet and string orchestra. It is in two movements (one slow, one fast) that are played without a break. I spent ten years at the Yehudi Menuhin School (a specialist music school for string and piano) growing up, so this piece cannot help but be strongly influenced by the music I played in the school orchestra during this time. In particular the work is influenced by Elgar’s Introduction and Allegro, Strauss’s Metamorphosen (for twenty-three solo strings) and Tippett’s Concerto for Double String Orchestra, although the harmonic language of the piece (which is essentially very jazzy) helps to obscure these musical references. In terms of extra musical inspiration, the work was inspired by a poem by Ivan Goll called Bloodhound which includes the lines “Catch the dreams that fly off from me.... And savage the ankles of my fleeting angel” I was inspired by the idea of a “fleeting angel” which, at a time when I had been having difficulties composing seemed very poignant: the angel of the poem seemed to be a poetic representation of my inspiration. The Dreams That Fly From Me was premiered by the Szymanowsky Quartet and the Northern Sinfonia (Bradley Creswick, director) at Hovingham Hall on the 28th July 2013 as part of the 2013 Ryedale Festival." - Cheryl Frances-Hoad

SEK 350.00

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Philip Cashian: A Web Of Shadows

Philip Cashian's A Web Of Shadows for String Quartet. A Web of Shadows was commissioned by Tom Kerstens, who gave the first performance with the Castalian String Quartet at the Purcell Room on 4 June 2011. Like a lot of my music the piece is made up of a series of short musical ideas that sit side by side or are stitched together. The problem of balance between the solo guitar and string quartet was a concern whilst writing the piece and led to music that has a delicate, almost filigree, quality. The string quartet play with practise mutes throughout as I wanted to try and give the impression that they were performing behind a veil. Composed in 2011. Duration: 11 minutes

SEK 533.00

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Cheryl Frances-Hoad: From The Beginning Of The World

From the Beginning of the World was commissioned by the Cardinall’s Musick and premiered at Cadogan Hall on the 20th July 2015 in the first of the 2015 BBC Proms Chamber Music Concerts. The concert launched The Tallis Edition, a new project by the ensemble with an aim to throw new light on Tallis’s work, and part of the commission brief was that my new piece should be a homage to this great English polyphonist. I spent several weeks in libraries attempting to find a suitable text, eventually settling on excerpts from Tycho Brahe’s German Treatise on the Great Comet of 1577. Whether Tallis knew about the comet is unknown of course, but this seismic event, to me, seemed emblematic of all the great changes that occurred during his lifetime, in areas such as religion, the calendar, and time-keeping (finding out that Tallis lived out his last days in Greenwich was an extra bonus). The text also seems to speak to contemporary times: whilst Brahe may have thought the comet’s birth would cause the sun to ‘bring unnatural heat’, nowadays we know that its ‘venom [will be] spewed over the lands’ due to mankind’s continued pillaging of the earth’s natural resources. Yet our political ‘pseudo prophets’ prefer to distract us with an austerity delusion rather than confront a reality perpetuated by certain corporations for whom ‘seek[ing] their own honour’ is of primary value. The music itself is very influenced by Tallis, and canons and imitation abound. During my time as a ‘cellist at the Yehudi Menuhin School, I performed Ralph Vaughan Williams’s Fantasia on a Theme of Thomas Tallis many times, and so From the Beginning of the World, which also uses Tallis’s Third Mode Melody from the English Hymnal, is really a homage to both composers. - Cheryl Frances-Hoad.