Hoamat — the Bavarian pronunciation of the word Heimat (“Home”) — was commissioned by the Municipal Music School in the Upper Bavarian city of Burghausen for their Lokalklang Festival. The ten movements, which make use of a rich variety of ensembles, are all playable by non-professional musicians and, as the first performance proved, can be hugely enjoyable for an audience!
Publication date: August 2014 Instruments: speaker, soloists, ensembles, orchestra and choir Series:Contemporary Format: Conducting score Pages: vi/63 ISMN: 979 0 708092 87 2 Duration: c.40' Code: HH354.FSC Price: £55.00 more info
Bitti's twelve ‘Cambridge’ sonatas, presented to Cardinal Ottoboni, represent the composer’s late, galant style, full of lovingly sculpted ornamental detail for the violin but with the same resourceful harmony and perfectly proportioned forms seen in earlier works.
Editor:Michael Talbot | Antonio Frigé Publication date: August 2014 Instruments: Violin, basso continuo Format: Full score and parts Series:Baroque Pages: ix/11 + 2 × 4 ISMN: 979 0 708041 60 3 ISBN: 978 1 910359 02 0 Code: HH340.FSP Price: £8.95 more information
This second volume in the series of his Op. 13 quartets exploits each instrument equally — even the viola is allocated elaborate solo passages — and offers an attractive alternative (as Haydn realised at the time) to the standard Viennese works of this period.
Editor:Christopher Hogwood Publication date: July 2014 Series:@Haydn Instruments: Two violins, viola and violoncello Format: Full score and parts Pages: xii/16 + 16 + 3 x 12 ISMN: 979 0 708092 66 7 ISBN: 978 1 905779 86 4 Code: HH195.FSP Price: £27.95 more info
A prayer addressed to Our Lady of Consolation, Memorare evokes images of flight and our basic human need for escape and protection. The subtle colours of Timothy Raymond’s musical language and his fine judgement of instrumental timbre combine to produce a work of immense transcendental power.
Publication date: July 2014 Instruments: Flute, viola and harp Series:Contemporary Format: Full score and parts Pages: iv/14 + 3 × 12 ISMN: 979 0 708059 64 6 Duration: c.7' Code: HH370.FSP Price: £24.00 more information
This previously unpublished Concerto a quadro presumably started life as a concerto for the standard Baroque forces of flute, strings and continuo. Not preserved in its original form, it survives in a version for flute, violin, viola and cello in a set of manuscript parts apparently copied by an amateur musician in Sweden and now part of Christopher Hogwood’s collection.
Editor:Christopher Hogwood Publication date: June 2014 Series:Baroque Instruments: Flute, violin, viola and violoncello with optional basso continuo Format: Full score and parts Pages: ix/9 + 8 + 3 x 4 ISMN: 979 0 708041 88 7 ISBN: 978 1 910359 03 7 Code: HH369.FSP Price: £14.75 more info
Previously, the parts for this recently discovered flute concerto have been available for rental only. Now, after premieres in many countries around the world – from Italy to Peru, and most recently in Austria – we have decided to publish the parts as a digital download. Each part can be printed in two formats: as single sheets or as a booklet.
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.
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 information
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
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