Commissioned by Slovak virtuoso accordionist Milan Osadsky, Nirmali Fenn’s The Edge of Self homes in on one of the instrument’s most characteristic features — its unique capacity for producing sustained notes and note clusters. Marked by passages of extreme stillness and others that shake with anticipation of intense activity, the piece begins highly compressed, expands in the middle to form extremely dense chords, and finally retreats, compressing to one note.
Publication date: February 2014 Instruments: Accordion solo Series:Contemporary Format: Playing score Pages: iv/7 ISMN: 979 0 708024 93 4 Duration: c.10' Code: HH366.SOL Price: £13.50 more info
This Sonata in A major was published by John Walsh in April 1704 as the second piece by Bitti presented in a series of violin sonatas by different composers delivered to subscribers in twelve monthly instalments. An extrovert work, well suited to public performance, it was played in London by the Cremonese violinist Gasparo Visconti. In the Allegro movement, playful imitations between violin and bass eventually give way to violin acrobatics, and the slow movement is a model of continuously evolving melody.
Editor:Alessandro Borin | Michael Talbot Publication date: February 2014 Instruments: Violin, basso continuo Format: Full score and parts Pages: vii/8 + 2 x 4 ISMN: 979 0 708024 91 0 ISBN: 978 1 904229 43 8 Code: HH335.FSP Price: £8.95 more info
In A minor, the seventh London sonata is serious and noble in tone, while displaying a dance-like character in its final three movements. It constitutes the perfect marriage between energetic and lyrical expression — the ‘happy medium’ that English players and audiences prized so much around 1700 and identified with the school of Corelli, whose style Bitti does not imitate directly, but whose aesthetic he shares in so many respects.
Editor:Alessandro Borin | Michael Talbot Publication date: January 2014 Instruments: Violin, basso continuo Format: Full score and parts Pages: vii/7 + 2 x 4 ISMN: 979 0 708024 92 7 ISBN: 978 1 904229 37 7 Code: HH334.FSP Price: £8.95 more info
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
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
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
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
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
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
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
I would therefore recommend it to every keyboard-player to expand their expressive range and to every nonlutenist wanting to explore the music of Dowland, to learn about the art of variation, or to further their knowledge of this great composer. The Consort