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Michael Berkeley Catalogue

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Chamber Ensemble<br />

Seven<br />

Chamber ensemble (seven players) 9780193359963<br />

Seven is founded on the further elaboration of a<br />

simple phrase used in Second Still Life. As the number<br />

2 is significant in that piece, the number 7 is prevalent<br />

throughout Seven: the work is for seven players and is<br />

seven minutes in duration.<br />

7 minutes<br />

Shooting stars<br />

Symphonic wind ensemble<br />

Conductor’s score and parts on hire 9780193356153<br />

The composer describes this short piece for symphonic<br />

wind ensemble as having ‘a feel of the fair ground, or<br />

bright lights, and of being jostled’, and recalls childhood<br />

days in the shooting gallery when the targets were placed<br />

at the centre of a star. Having witnessed a star flying across<br />

the night sky whilst he was working on the piece, and since<br />

this short piece for symphonic wind can act as a prelude<br />

to the more substantial Slow Dawn, he chose the title<br />

Shooting Stars.<br />

4 minutes<br />

Slow Dawn<br />

Wind band<br />

Conductor’s score and parts on hire 9780193356146<br />

Slow Dawn is a gentle and evocative piece for wind band.<br />

<strong>Berkeley</strong> depicts the gradual appearance of the sun (in the<br />

form of the tuba), ‘shafts of light and playful reflections’<br />

which accompany the increasing warmth of day, the ‘music<br />

of midday’ suggesting ‘the savage anger of heat in foreign<br />

climes with stabbing beams of light’, and the final descent<br />

of the sun at the end of the day.<br />

9 minutes<br />

String Quartet No. 1<br />

String quartet<br />

Score* 9780193554931<br />

Set of parts* 9780193554955<br />

*Available from June Emerson Wind Music<br />

String Quartet No. 2<br />

String quartet<br />

Score 9780193554986<br />

Set of parts 9780193412354<br />

<strong>Berkeley</strong>’s second string quartet uses a free, random<br />

presentation of thematic material. There is a sharp contrast<br />

between the tight and rhythmic central section and the<br />

final passage which dispenses with barlines altogether,<br />

providing a fascinating journey through interrelated and<br />

continuous sections.<br />

String Trio<br />

Violin, viola, and cello<br />

Score 9780193554801<br />

Set of parts 9780193554818<br />

This two movement work is dedicated to Richard Rodney<br />

Bennett, at one time <strong>Michael</strong> <strong>Berkeley</strong>’s composition<br />

teacher. A three bar theme introduces the first movement<br />

which is worked almost entirely in step-by-step crotchets.<br />

The Allegro that follows is more spiky and angular but has<br />

a lyrical central passage in 3/8.<br />

15 minutes<br />

Torque and Velocity<br />

String quartet<br />

Conductor’s score and parts on hire 9780193556546<br />

This is <strong>Michael</strong> <strong>Berkeley</strong>’s fifth composition for string<br />

quartet. <strong>Berkeley</strong> says that it was the Takács Quartet’s<br />

special qualities of ‘exhilarating vigour coupled to innate<br />

musicianship, as exemplified in their playing of the Bartók<br />

quartets, which helped dictate the nature of the piece’.<br />

15 minutes<br />

William Walton arr. <strong>Berkeley</strong><br />

Touch her soft lips and part<br />

String octet 9780193359697<br />

Originally part of Walton’s film score to Henry V composed<br />

in 1943, Touch her soft lips and part has been taken from<br />

the original string version and arranged beautifully by<br />

<strong>Michael</strong> <strong>Berkeley</strong> for a smaller ensemble.<br />

2.5 minutes<br />

Winter Fragments<br />

Voice and chamber ensemble<br />

fl. (+picc.), ob. (+c.a.), cl. (+b.cl.), hp, vln, vla, vc<br />

Conductor’s score and parts on hire 9780193556522<br />

Seven setting of poems on the theme of winter.<br />

‘The double meaning title of these pieces came naturally,<br />

partly because I was at that time considering an opera<br />

project based on Shakespeare’s The Winter’s Tale, partly<br />

because the music was largely written in a frozen Welsh<br />

landscape, and partly because I wanted to write short,<br />

spare pieces that combine to create an overall aspect of<br />

winter. - <strong>Michael</strong> <strong>Berkeley</strong><br />

Winter Fragments was first performed by the Nash<br />

Ensemble, Jean Rigby, and Thomas Adès on 5th March,<br />

1995 at The Purcell Room, London.<br />

19 minutes<br />

Coronach<br />

String orchestra<br />

Conductor’s score and parts on hire 9780193620261<br />

Study score* 9780193620285<br />

Coronach is a Scottish highland lament. This piece<br />

belongs to a group of pieces written by <strong>Berkeley</strong> in the<br />

late 1980s which explore the complex emotions of grief,<br />

rage, and anger. (The other pieces are Fierce Tears I and<br />

II and Keening.) This rhythmic piece is an ideal work for<br />

advanced young string groups. Commissioned by the 1988<br />

Prestiegne Festival.<br />

*Available from June Emerson Wind Music<br />

13 minutes<br />

Gethsemani Fragment<br />

String orchestra<br />

Conductor’s score and parts on hire 9780193620544<br />

Based on the biblical passage of the Garden of<br />

Gethsemane. ‘My piece, while abstract rather than<br />

programmatic, simply attempts to capture a brief glimpse<br />

of the gnawing and nagging doubts racing through the<br />

mind of Christ. One does not, I think, have to be religious to<br />

identify with this touching moment.’ - <strong>Michael</strong> <strong>Berkeley</strong><br />

10 minutes<br />

Glass Tears<br />

Shakuhachi, two kotos, and string orchestra<br />

Conductor’s score and parts on hire 9780193555297<br />

‘The shakuhachi (bamboo flute) has intrigued me for many<br />

years and in particular its breathy, almost human quality.<br />

The koto on the other hand seems to combine aspects of<br />

the harp, zither, harpsichord and cimbalom and is capable<br />

of adding a metallic glint to the texture. Bringing these<br />

contrasting colours together with a string orchestra was<br />

a fascinating challenge compounded by my decision to<br />

write a piece that was not simply contemplative, which the<br />

shakuhachi might initially suggest, but contrasting in both<br />

mood and tempi.’ - <strong>Michael</strong> <strong>Berkeley</strong><br />

15 minutes<br />

String Orchestra<br />

Meditations<br />

String orchestra<br />

Conductor’s score and parts on hire 9780193620278<br />

Meditations is <strong>Michael</strong> <strong>Berkeley</strong>’s first acknowledged<br />

orchestral work. It was written at the beginning of 1975<br />

and was the work that led to <strong>Berkeley</strong>, a late developer<br />

as a composer, doing post graduate studies with Richard<br />

Rodney Bennett.<br />

The piece is called ‘Meditations’ because its atmosphere is<br />

essentially contemplative, though the nature of the subject<br />

is far from being continuously passive. Another reason for<br />

the title is the inspiration behind the thematic material -<br />

though the actual melodies are original, they use rhythmic<br />

and melodic patterns suggested by Gregorian chant which<br />

<strong>Berkeley</strong> sang every day as a chorister at Westminster<br />

Cathedral.<br />

14 minutes<br />

Suite: Vision of Piers Ploughman<br />

Two horns, percussion, piano, and string orchestra<br />

Conductor’s score and parts on hire 9780193620414<br />

- Strife - The Vision - Pier’s Theme -<br />

This three-movement work is based on the Medieval<br />

allegorical tale of Piers Plowman.<br />

12 minutes<br />

String Orchestra<br />

18 minutes<br />

8<br />

9

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