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 />
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