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Early - Baroque - Classical - Contemporary music |
PUBLISHED IN 2013 |
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This piece is a poetic representation of the ice phenomenon “diamond dust”. Its light, ponderous beginning exploits the guitar’s delicate timbral qualities, while the second, more aggressive section is quite percussive in texture, depicting the full gamut of elements that constitute this elusive state of ice.
Composer: Litha Efthymiou
Publication date: December 2013
Instrument: Guitar
Series: Contemporary
Format: Playing score
Pages: iv/4
ISMN: 979 0 708092 89 6
Code: HH363.SOL
Price: £7.25 more info
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D major could be described as the great “extrovert” key in late Baroque string music, and Florentine composer Martino Bitti’s four-movement sonata, in the classic slow–fast–slow–fast configuration, does not disappoint in this respect. In particular, the second movement, an allemande-like Allegro, tests the player’s ability to execute broken-chord figures neatly. Bitti’s artistic personality always shines through, however, and the music never loses its poise, melodic beauty remaining its highest goal.
Editor: Alessandro Borin | Michael Talbot
Publication date: December 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/7 + 2 x 4
ISMN: 979 0 708092 92 6
ISBN: 978 1 905779 07 9
Code: HH333.FSP
Price: £8.95 more info
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ed. Alessandro Borin & Michael Talbot
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Florentine composer Martino Bitti’s Sonata in D minor captures the serious-minded, plaintive mood traditionally associated with this key. The corrente-like fast second movement in triple metre, with its tiny, insistently repeated musical figure, is reminiscent of Vivaldi. In the other three movements, the composer shows a more typical side of his style, where the free spinning-out of melody — always exquisitely shaped — takes precedence over strict repetition.
Editor: Alessandro Borin | Michael Talbot
Publication date: November 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/7 + 2 x 4
ISMN: 979 0 708092 91 9
ISBN: 978 1 905779 06 2
Code: HH332.FSP
Price: £8.95 more info
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ed. Alessandro Borin & Michael Talbot
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Inspired by American poet Clayton Eshleman’s reflections on the drawings of Henri Michaux, Nirmali Fenn creates a subdued yet highly expressive sound world in her latest work. The solo viola’s open strings, of which the top and bottom are detuned, trapping the music within a tritone pair, act like outer voices, as in counterpoint. They are, in the composer’s words, “like balloon strings”, limiting the melody lines on other strings and generating an acute sense of elasticity as the relationship between the lines is stretched to the extreme.
Publication date: October 2013
Instruments: Viola solo
Series: Contemporary
Format: Playing score
Pages: iv/3
ISMN: 979 0 708092 87 2
Duration: c.5'
Code: HH352.SOL
Price: £12.00 more info
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This Sonata in A major belonging to the ‘London’ group was published by John Walsh in January 1704 as the opening work in a series of violin sonatas by different composers delivered to subscribers in twelve monthly instalments. It is also preserved in the manuscript in the British library containing seven violin sonatas by Bitti. It is an extrovert work well suited to public performance — we know that the Cremonese violinist Gasparo Visconti played it at Drury Lane Theatre. The structure follows a pattern that recalls a sonata da camera by Corelli: a prelude-like movement followed in turn by a corrente, a slow, triple-time movement resembling a sarabanda, and a giga.
Editor: Alessandro Borin | Michael Talbot
Publication date: October 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/7 + 2 x 4
ISMN: 979 0 708092 90 2
ISBN: 978 1 905779 85 7
Code: HH331.FSP
Price: £8.95 more info
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ed. Alessandro Borin & Michael Talbot
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Haydn’s first set of Lieder, adapted for the English market by William Shield, who was to become his close friend, were an instant commercial success, with the most popular of them reissued separately not only in England but also in Ireland and America. Generously illustrated with facsimiles from the original publications, which were notated on two staves, the new edition, the first in 200 years, uses three staves to clarify the voice and keyboard parts, and includes an Introduction and full Critical Commentary.
Editor: Christopher Hogwood
Publication date: September 2013
Series: @Haydn
Instruments: Voice & keyboard
Format: Full score
Pages: xviii/28
ISMN: 979 0 708059 70 7
ISBN: 978 1 905779 99 4
Code: HH192.FSC
Price: £14.50 more info
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Chants du Printemps is an expanded version of a smaller work, completed in 2010, for two oboes, cor anglais, harp and percussion. The earlier piece, Canto di Primavera, included a couple of oblique references to Stravinsky’s Le Sacre du Printemps, which Stephen Pratt, during the centenary year of this iconic masterpiece, decided to develop in his recomposed work. The final movement, a celebration rather than a sacrifice, concludes with the clearest references to the original — a collage of three distorted snippets from Part I of Le Sacre. Despite such borrowings, it is hoped that the listener will enjoy Chants du Printemps in its own right (no pun intended).
“Stephen Pratt’s homage to Stravinsky, Chants du Printemps, was a fearless attempt to harness the brute energy of The Rite of Spring, like a rodeo rider clinging to a particularly implacable bull.”
The Guardian
Publication date: September 2013
Instruments: Chamber Orchestra
Series: Contemporary
Format: Study score (A4)
Pages: vi/82
ISMN: 979 0 708092 88 9
Duration: c.18'
Code: HH362.SSC
Price: £42.00 more info
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Marc-Antoine Charpentier (1643–1704) was unusual among his French contemporaries in setting a significant number of Italian texts, of which two of the most substantial are a pair of pastoralette. ‘Cupido perfido dentr’al mio cuor’ is scored for four solo voices, two treble instruments and continuo, this work may also involve choral forces if desired. As in the companion work ‘Amor vince ogni cosa’ (HH323.FSC), Charpentier incorporates innovative Italian features into his essentially French musical style.
Editor: Shirley Thompson
Publication date: September 2013
Instruments: Four voices, two Treble Instruments, Basso continuo
Format: Full score
Pages: xiv/24
ISMN: 979 0 708092 76 6
ISBN: 978 1 905779 95 6
Code: HH324.FSC
Price: £19.95 more info
Performance Material (Vocal score and parts)
is available as a digital download (pdf)
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The three groups of violin sonatas by leading Florentine violinist-composer Martino Bitti (1655/56–1743) are sadly neglected. Unusually for Bitti’s earlier sonatas, the Sonata in G minor belonging to the London group features only three movements: a prelude-like slow opening movement full of melodic eloquence, followed by a generously proportioned and rhythmically interesting Allemanda and, to conclude, a sparkling giga-like movement.
Editor: Alessandro Borin | Michael Talbot
Publication date: September 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/5 + 2 x 4
ISMN: 979 0 708092 84 1
ISBN: 978 1 905779 98 7
Code: HH330.FSP
Price: £7.95 more info
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ed. Alessandro Borin & Michael Talbot
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This unique volume brings together side by side the two distinct versions
of Vivaldi’s unusually titled concerto Il Proteo ò il mondo al rovverscio (“Proteus, or The World Turned Upside-Down”), both dating probably from the mid-1720s. Not only are we able to glimpse the fascinating creative process involved in the conversion of one concerto into the other, but the
two works are differently scored, providing equally valid alternatives for performance.
Editor: Paul Everett
Publication date: August 2013
Instruments: Violin solo, violoncello solo, strings, basso continuo (RV 544)
Two flutes, two oboes, violin solo, violoncello solo, harpsichord, strings, basso continuo
(RV 572)
Format: Full score
Pages: xxii/53
ISMN: 979 0 708024 90 3
ISBN: 978 1 904229 36 0
Code: HH056.FSC
Price: £32.00 more info
The instrumental parts are available as a digital download (pdf)
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| Any performer of Mozart's piano concertos must have wondered how those sparsely notated sections would have been realized at the time. No one is better placed to provide an answer than the composer's own pupil Johann Nepomuk Hummel. Here now, for the first time in modern edition, is the first of the series of Hummel’s superb arrangements of seven concertos — K466 in D minor. Not only will these scores throw light on the problem mentioned, but they will provide a unique opportunity for pianists to perform Mozart’s masterpieces with just a handful of friends or colleagues rather than with full orchestra, or even play them as solo works in their own right.
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ed. Costantino Mastroprimano & Leonardo Miucci
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The three groups of violin sonatas by leading Florentine violinist-composer Martino Bitti (1655/56–1743) are sadly neglected. Typically for Bitti’s earlier sonatas, the Sonata in C minor belonging to the London group features four movements in the standard configuration for chamber sonatas of the time: a prelude-like slow opening movement followed by three further movements of either implicit or explicit dance character. This sonata features a particularly eloquent third movement having the character of a sarabande, while the concluding giga-like movement exhibits irrepressible verve.
Editor: Alessandro Borin | Michael Talbot
Publication date: August 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/5 + 2 x 4
ISMN: 979 0 708092 84 1
ISBN: 978 1 905779 98 7
Code: HH329.FSP
Price: £8.95 more info
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ed. Alessandro Borin & Michael Talbot
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The three groups of violin sonatas by leading Florentine violinist-composer Martino Bitti (1655/56–1743) are sadly neglected. Typically for his earlier sonatas, the Sonata in B flat major that heads the London group features four movements in the standard configuration for chamber sonatas of the time: a prelude-like slow opening movement followed by three further movements of either implicit or explicit dance character. This sonata has a particularly interesting second movement (Allemanda), where Bitti displays his considerable rhythmic finesse.
Editor: Alessandro Borin | Michael Talbot
Publication date: July 2013
Instruments: Violin, basso continuo
Format: Full score and parts
Pages: vii/7 + 2x4
ISMN: 979 0 708092 80 3
ISBN: 978 1 905779 96 3
Code: HH328.FSP
Price: £8.95 more info
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ed. Alessandro Borin & Michael Talbot
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Ming Wang's piano quintet embodies two totally contrasting musical conditions: one type of passage characterized by chromatic lines and chords, which forcefully knock and grate against one another, creating a mood of hypertension, can unexpectedly flip over into a sound world of reassuring, transparent pentatonicism. This contrast evokes a dark landscape suddenly lit up when it reflects light coming from outside.
Publication date: July 2013
Instruments: Two violins, viola, violoncello
Format: Full score and parts
Pages: vii/33 + 4x8 + 16
ISMN: 979 0 708041 12 2
Code: HH353.FSP
Price: £27.95 more info
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Czech-born composer Václav Pichl (1741–1805) spent much of his working life in Vienna, where the Empress Maria Theresa preferred him to Mozart. His compositions were performed at Eszterháza by Haydn, who had a set of Pichl's "new quartets" copied in 1780 (he wrote over 30 quartets in all). Op. 13, the present set of stylish and skilfully contrasted works, were dedicated to Dittersdorf, one of his early employers. They exploit all four instruments equally (even the viola is allocated elaborate solo passages) and offer an attractive alternative to the standard Viennese works of this period.
Editor: Christopher Hogwood
Publication date: July 2013
Instruments: Two violins, viola, violoncello
Format: Full score and parts
Pages: xiii/17 + 16 + 3x12
ISMN: 979 0 708059 58 5
ISBN: 978 1 905779 17 8
Code: HH187.FSP
Price: £24.95 more info
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In his day, Carl Fasch was regarded as the true successor to C. P. E. Bach. This final (third) volume of the composer's complete keyboard works includes his four sets of extended variations, containing some impressive displays of virtuosity, and a variety of shorter pieces, the majority previously unpublished. The whole three-volume keyboard cycle provides the modern player with remarkable, high-quality new repertoire for performance on the clavichord, harpsichord, or fortepiano.
Editor: Christopher Hogwood
Publication date: June 2013
Instruments: Clavichord, Harpsichord, Fortepiano, Piano
Format: Playing score
Pages: xxv/48
ISMN: 979 0 708092 51 3
ISBN: 978 1 905779 90 0
Code: HH302.SOL
Price: £24.95 more info
“This edition is both practical and elegant [...]
my belief in this brilliant edition’s imminent popularity.”
Volume 1 reviewed in The British Clavichord Society Newsletter
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This anthology celebrates the life and work of Mabel Dolmetsch (1874–1963) on the fiftieth anniversary of her death. It brings together timeless melodies such as Belle qui tiens ma vie and Heartsease, sixteenth-century dances from the Medici Manuscript in the Dolmetsch Library, and examples from the French viol repertoire, including Récit de la viole seule et Sarabande from the Sonate for eight instruments by Marc-Antoine Charpentier and pieces by Sainte-Colombe, Jean-Baptiste Forqueray and Marin Marais.
Editor: Marguerite Dolmetsch
Publication date: May 2013
Instruments: Viola da Gamba and Harpsichord
Format: Full score and part
Pages: x/47 + 24
ISMN: 979 0 708092 79 7
ISBN: 978 1 905779 93 2
Code: HH322.FSP
Price: £24.95 more info
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Marc-Antoine Charpentier was unusual among his French contemporaries in setting a significant number of Italian texts, of which two of the most substantial are a pair of pastoralettes, ‘Amor vince ogni cosa’ and ‘Cupido dentr’al mio cuor’.
‘Amor vince ogni cosa’, a cantata-like work on the theme ‘true love conquers all’, nicely illustrates Charpentier’s integration of innovative Italian features into an essentially French musical style. Scored for five solo voices, two treble instruments and continuo, the work is also suitable for performance by larger forces.
Editor: Shirley Thompson
Publication date: May 2013
Instruments: Five voices, two Treble Instruments, Basso continuo
Format: Full score
Pages: xvi/40
ISMN: 979 0 708092 75 9
ISBN: 978 1 905779 94 9
Code: HH323.FSC
Price: £19.95 more info
Performance Material (Vocal score and parts in PDF format)
Code: HH323.IPT
Price: £19.95 more info
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The second volume of keyboard music by the reclusive Carl Fasch contains two unpublished sonatas (one in the unusual key of B flat minor) and his considerable output of “character pieces”, short descriptive works which justify contemporary opinion that he was the true successor to C. P. E. Bach. These individual vignettes are ideal for playing on either the clavichord or the fortepiano and provide an expressive foil to the first volume’s more extended and extrovert sonatas.
Editor: Christopher Hogwood
Publication date: April 2013
Instruments: Clavichord, Harpsichord, Fortepiano, Piano
Format: Playing score
Pages: xxiv/65
ISMN: 979 0 708092 50 6
ISBN: 978 1 905779 89 5
Code: HH301.SOL
Price: £32.00 more info
“This edition is both practical and elegant [...]
my belief in this brilliant edition’s imminent popularity.”
Volume 1 reviewed in The British Clavichord Society Newsletter
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OFFBEAT REPERTOIRE FOR TUBA PLAYERS!
Hong Kong composer Chi-Hin Leung has written a daring new work for a quartet of tuba players – Utmost Attack. Portraying the actual moment of shooting an arrow from a crossbow – the finger on the trigger, the release of the arrow, and the attack on the enemy – it features powerful dynamic contrasts, constant shifts of mood, tempo, rhythm, texture and sonority, all to striking dramatic effect.
Publication date: March 2013
Instruments: Tuba quartet
Series: Contemporary
Format: Full score and parts
Pages: iv/8 + 4×8
ISMN: 979 0 708092 70 4
Duration: c.5'
Code: HH326.FSP
Price: £18.00 more info
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Entre Nous, written for the outstanding Norwegian cellist Jonathan Aasgaard, is one of a proposed series of three related works, all featuring solo cello. The title reflects the sense of collaboration at the heart of the project, and is, in this first piece of the set, a starting point for the music itself. In effect, two “voices” can be heard in dialogue through the work’s three movements — “Talking it over”, “Just …”, “… saying” — one gradually becoming more animated while a more lyrical and reflective voice attempts to keep things calm.
Publication date: February 2013
Instruments: Violoncello solo
Series: Contemporary
Format: Playing score
Pages: iii/9
ISMN: 979 0 708092 94 2
Duration: c.9'
Code: HH321.SOL
Price: £12.50 more info
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The present work, which has been realized and edited by the well-known British clarinettist Nicholas Cox, will be particularly suitable for reasonably advanced students of both modern and classical clarinets.
Editor: Nicholas Cox
Publication date: February 2013
Instruments: Clarinet and keyboard
Series: @MOZART
Format: Full score and instrumental part
Pages: xii/17 + 12
ISMN: 979 0 708092 69 8
ISBN: 978 1 905779 71 0
Code: HH259.FSP
Price: £13.50 more info
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The premise underlying The Clash of Icicles against the Stars is the Chinese concept of qi. Qi means ‘breath’, ‘air’ or ‘gas’ and signifies the energy flow or life force that is the fundamental sustaining element of existence. The piece explores the various air chambers of the three instruments for which it is written, with the accordion compressing and expanding its chamber to manufacture sound, while the sheng, China’s oldest wind instrument and the ancestor of the accordion, uses reed vibration in contrast to the reedless flute, whose embouchure hole provides the basis for timbral experimentation. The I Ching provides a symmetrical structural base, while Rimbaud’s poem ‘Barbarian’, with its highly emotional imagery, evokes the spatial range and temporal pace of The Clash of Icicles against the Stars.
Publication date: January 2013
Instruments: Flute, accordion, sheng
Series: Contemporary
Format: Full score and instrumental parts
Pages: iv/9 + 3x12
ISMN: 979 0 708092 71 1
Duration: c.20'
Code: HH320.FSP
Price: £29.00 more info
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