SKU: A0.901081

Audacious Binary Forms for pianist playing one or two pianos, won Australia’s most prestigious piano composition competition the Jean Bogan Prize for Piano Composition 2016.

The world premiere was performed by Michael Kieran Harvey. He is considered by many as being one of Australia’s greatest living concert pianists. Michael specializes in performing world premieres of compositions by Australian composers. He is also a prolific composer of avant-garde music.

ABSTRACT FROM THE GENERAL DIRECTIONS

Audacious Binary Forms for piano is in a fractured binary form. Two types of structures exist; lettered structures, which are experimental structures, and explore the sonorities of the piano, and numbered structures, which are more traditional structures. A structure may be a single page or more than one page. Each page in a structure is to be played sequentially. For example, with structure C, consisting of three pages, C1, C2, C3, each page is played sequentially in numerical order, C1, C2, C3.

EXPERIMENTAL STRUCTURES

The structures A, B, C, D, E, F, G, Percussion, CADENZA, and CODA are experimental.

TRADITIONAL STRUCTURES

The structures 1, 2, 3, 4, 5, and 6, are traditional.

PREPARING THE SCORE FOR PERFORMANCE

There are four different options for a performance.

MINIMALIST OPTION

The 13 cards cut from the CUTOUT page are shuffled. Card 4 Rag (1,2) is removed.  The 12 cards are placed face down. One card is revealed representing the structure that is to be performed. A member of the audience can be invited to shuffle the cards.

STOCHASTIC OPTION

An audience member or members can be invited to shuffle all the pages of the score. The resultant random sequence of pages becomes the whole score for the performance.

PERFORMER’S OPTION

The performer prepares the structures according to his musical tastes. All of the experimental structures should be performed. The performer is free to play none, some, or all of the traditional structures. Please note that each structure remains an independent structure and is played sequentially. For example, structure C, consisting of three pages would be played C1, C2, C3 in that order.

PERFORMER/COMPOSER OPTION

Months before the concert the performer can contact me at paulcopeland1@bigpond.com, to discuss the performance, and to work out an ideal performance structure for the work, taking into consideration the venue, expected size of audience, size of auditorium, music program, and if two pianos will be available.

IMPORTANT INFORMATION REGARDING SHEET MUSIC SIZE

Please note that the score should be printed on separate pages (the notated pages), not back to back. Ideally the score should be printed on A3 pages in colour. However the score can still be printed in grayscale. 

The sheet music file is approximately 15Mb because the score is in full color. 

BIOGRAPHICAL INFORMATION

Paul Copeland is an award-winning multi-genre composer, graphic artist, programmer, teacher, and author, based in his home city of Melbourne. His compositional styles range from neo-classical, jazz, ragtime, and musical theatre to electronic, avant-garde, post-avant-garde, and experimental music.

Born in 1947, Copeland grew up an only child in a musical household. His mother was a talented singer, his father an accomplished amateur pianist, composer of popular music, and internationally renowned travelling telepathist known as Argus The Boy Prophet. Copeland's musical studies commenced at the age of 16 when he began studying piano, and a year later, he enrolled at the Melba Conserv.

SKU: A0.534483

This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled
« Free Zone » of occupied France during the Second World War and was completed just as
Tailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been the
secretary of the French socialist Léon Blum during the « Front Populaire » period just before the War
and who was at that time in the US working against the Vichy Government, and as someone who was
not unvocal about her political views, this could not have been a comfortable situation. Tailleferre left a
record of what she experienced during this period in an article written for the American music journal «
Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :
« Notwithstanding their staunch spirit of resistence, the people under German rule today are
increasingly bowed down under their burdens. By achieving the physical decline of the French, the
Nazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remains
pround and great, although the necessity of liberation grows daily more urgent.....For an artist to work
under these conditions is almost impossible. The mere effort of subsisting wastes time and absorbs
energy ; The means to work are also lacking.....Musical composition is made practically impossible
through lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseilles
and Nice on which to copy an orchestral score...Two years of experience under German rule have
taught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made only
claudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».
Under such circumstances, it is a miracle that this work exists at all. The three movement work was
dedicated to the famous Marguerite Long, for whom Tailleferre had already written several short works
for piano solo, and François Lang, a pianist who was closely linked with the Group des Six and who
had performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, Saxophone
Quartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.
The work opens with sunny, optimistism in a mood similar to the opening movement of the Concerto
Grosso, but quickly the mood changes to more dramatic themes. The second movement seems to
subjectively express a rupture with the past and a tragic melancholy. The final third movement is
extremely dramatic and almost frightening with it’s force.
When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she was
going to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probably
due to the fact that there was no music paper to be had to copy the score. When she returned to France
in 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life in
France had been completely changed by the War years. Tailleferre put the work aside and forgot about
it, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friends
associated with these years.
Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed in
that version. It is clear however, that the work was intended to be orchestrated and the editors hope that
the present orchestration will allow the work to finally be presented as Tailleferre conceived during
some of the darkest years of the Twentieth century.

SKU: A0.889436

The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works.

It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world.

Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of theDivi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708.

The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe,  edited by Wilhelm Rust. 

The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. 

The Arrangement is relatively easy to perform, also appropriate for beginners. 

It is an ideal piece for advanced performers, this music touches deep into the Soul.

The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement.

Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form.

Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo.

I propose an interpretation for a modern string orquestra or a string quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul.

If the orquestra only has one double bass I would recommend you to reenforce the bass with a cello. It can be very well performed by a „string quintet- a string quartet with a double bass.

Have fun!

It is a piece that can be used in many different kinds of situations, in a serious concert hall, or a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events.

When performed Live It will give you back a great  feedback from the public, you will always want to have it in your repertoire.

The score was written on Finale.

The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Luis Anjos Teixeira

Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design.

Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all of You 

All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

SKU: A0.965556

Wilt Thou Forgive? is a setting of the John Donne poem, A Hymn to God the Father. John Donne (1572 – 1631) was one of the greatest of the metaphysical poets in England, a group that included George Herbert, Andrew Marvell, and possibly John Milton. An Anglican priest with a less than perfect moral reputation, Donne expressed through his poetry (notably, the Holy Sonnets) the incongruities of human attempts at living the Christian life.

In the present poem, the speaker reveals his struggles with sin-the sin he was born with, the sin he commits daily, the sin through which he influences others to sin, and the sin he has quit for a short while, only to take up again for many more years. He confesses yet another sin: the fear that he will perish on the shore, presumably to die with unforgiven sins, consigned to eternal damnation. His desperate plea is that God’s Son shall shine as he shines now and heretofore. If God answers this prayer, he will fear no more, and will know that all his sins, including the sin of fear, are finally forgiven.

This musical setting uses subtle inflection of rhythm and meter to mirror the text, aiming for natural prosody of speech and expressive accentuation. Melodic contours emphasize important words, while harmonic placement projects the various moods throughout the poem. The key relationships involve mostly shifts of minor 3rds; starting in D minor, the piece moves through several keys, reaching its final statement in D major. A variety of textures maintains aural interest: clusters and close harmony, full divisi chords, and an imitative passage painting the words, won others to sin, and made my sin their door. A series of shimmering major chords brings the work to a close, declaiming the words, Thy Son shall shine as he shines now and heretofore, and, I fear no more.

SKU: A0.889437

The cantata „Gottes Zeit ist die allerbeste Zeit, BWV 106- „God`s Time Is The Very Best Time, ranks among Bach's most important works.

It is a work of genius such as even great masters seldom achieve. The Actus tragicus belongs to the great musical literature of the world.

Although Bach's manuscript is lost, the work is agreed to be one of the earliest Bach cantatas, probably composed during the year he spent in Mühlhausen 1707/1708 as organist of the Divi Blasil church, at the age of 22. Various funerals known to have taken place at this time have been proposed as the occasion for the composition, for example that of his uncle Tobias Lämmerhirt from his mother's family, who died inErfurt on 10 August 1707, and that of Adolph Strecker, a former mayor of Mühlhausen, whose funeral was 16 September 1708.

The earliest surviving manuscript, in the hand of Christian Friedrich Penzel, was copied in 1768 after Bach's death. It introduced the title Actus tragicus. The cantata was published in 1876 as part of the first complete edition of Bach's works: the Bach-Gesellschaft-Ausgabe,  edited by Wilhelm Rust. 

The text consists of different Bible passages from the Old and New Testament, as well as individual verses of hymns by Martin Lither and Adam Reusner, which all together refer to finiteness, preparation for death and dying. 

The Arrangement is relatively easy to perform, also appropriate for beginners. 

It is an ideal piece for advanced performers, this music touches deep into the Soul.

The piece was arranged for modern instruments, I introduced some embellishments and interpretation symbols thus shortening the length of some notes, but no notes where otherwise changed or omitted in this arrangement.

Also the original placement of the voices is totally respected, the structure of the piece was simply left as it was composed in its original form.

Bach scored the instrumental parts for a small ensemble of Baroque instruments two recorders, two violas da gamba and continuo.

I propose an interpretation for a modern woodwind quintet in this arrangement. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul.

Have fun!

It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events.

When performed Live It will give you back a great  feedback from the public, you will always want to have it in your repertoire.

The score was written on Finale.

The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Luis Anjos Teixeira

Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design.

Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all of You 

All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

SKU: A0.889424

Johann Sebastian Bach wrote some song-like, lyrical pieces, often movements in larger compositions for instrumental ensembles, the so called „Airs.

This piece, the Air of the second movement of the Suite No.3 in D major, BWV 1068 is one of the most impressive master works ever written in the history of the human being. 

The piece does not require virtuoso skills to perform and is appropriate for students or amateurs. Without any doubt very pleasant to listen when played by a dedicated and very well rehearsed ensemble, it has always a very powerful effect on the audience. It can be used in concerts and all sorts of spiritual or religious events.

In this arrangement for woodwind Quintet the bass is shared by the fagote and the horn as two independent voices that perform „as one. For a matter of study and comparison the original cello part is included in this work. It could be eventually used if the ensemble decides to double the original bass line with both the fagot and the horn.    

I also could not resist not to interchange the role of the flute and the oboe on the „repetition :

I have shortened some of the notes and used various interpretation symbols, accents and nuances, they are mere suggestions for an interpretation and are total absent on the original score.

The use of the dot over the notes is called „staccato, it means in this case that the note is shortened to approximately half of its length. 

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Thanks to Claudia Eppelt for the cover design tips, all the Love and inspiration.

Special Thanks to Nina and Stray Queen Mimi, Carlinhos, Pontinha, Maria Joaninha, Schwarzenegger, Koboldinha. 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all the Love 

All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

Disclaimer: 

Most serene Highness and noble performer of the Holy Musical Empire, gracious and dread Artist, the most joyous occasion of your name day may your highness celebrate it in divine grace and enjoy it in complete well-being felicity with the performance of this score.

The grandiose musical purchase contest takes place In the month of august. The cheapest price for this score is 15 Dollars. 

It would be of the greatest advantage to do your Highnesses gracious musical purchase during the month of august thus that would bring me the possibility of winning this grandiose selling competition.

I therefore await your Highnesses gracious musical purchase

I hope for your favor and gracious Highness, most humble, 

Luis Anjos Teixeira

The score was written on Finale and the sound file was produced with Garritan instruments.

SKU: A0.533672

Symphony No. 3, “Ave Maris Stella� (2005) was written for the Duquesne Contemporary
Ensemble and is dedicated to composer David Stock. Throughout his career, Stock has been
a tireless and generous advocate on behalf of new music and living composers. This work is
dedicated to him in tribute – as both an important American composer and a significant
contributor to America’s contemporary musical life.
The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the sea�) –
appropriate because of Duquesne’s standing and history as a Catholic university. When the
composition of this work first began, the original plan was for a celebratory and vibrant piece.
As the planning progressed, however, personal circumstances intervened and began to change
the work’s tone – becoming substantially bleaker and more obsessive.
The title of the first movement, Pentimento, is defined as “an underlying image in a painting,
as an earlier painting, that shows through when the top layer of paint has become transparent
with age.� The melodic and harmonic material for the movement is entirely drawn from the
plainchant source, although it is completely transformed and covered up – as in a pentimento.
At various points, one can begin to hear the original plainchant “peek out� in subtle ways.
The opening section of the movement obsesses again and again on what sounds like a
“beginning� – as though it is trying to begin again and again. After a brief bassoon cadenza, a
fast and driving section starts, marked “sinister.� After driving through a series of
transformations on the plainchant material, a bridge passage leads to further attempts at the
“beginning� again. Finally, these attempts are given up, and the plainchant material (the
underlying layer) begins to show through quietly – in preparation for the next movement.
In the second movement, Interrupted Motet, the plainchant theme is used in a more
straightforward fashion. After the opening declamatory statements, the following sections
move between more free developmental techniques, based on the first movement’s
transformations, and “motet� sections – using cantus firmus methods and textures from
Renaissance music. The tone and palate is, however, much darker and more obsessive.
There is a brooding ponderousness to these contrapuntal developments. The final motet
section ends in a rageful shout, the plainchant material is presented again in full force, and the
pent-up energy dissipates to the close.

Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F/Bb
Trumpet in C
Trombone
Percussion (1 player):
tubular bells, vibraphone
(Percussionist needs one rosined bow for vibraphone.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(single strings)

This is the score only.  The complete parts and each seperate part are also available as seperate items.

SKU: A0.533673

Symphony No. 3, “Ave Maris Stella� (2005) was written for the Duquesne Contemporary
Ensemble and is dedicated to composer David Stock. Throughout his career, Stock has been
a tireless and generous advocate on behalf of new music and living composers. This work is
dedicated to him in tribute – as both an important American composer and a significant
contributor to America’s contemporary musical life.
The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the sea�) –
appropriate because of Duquesne’s standing and history as a Catholic university. When the
composition of this work first began, the original plan was for a celebratory and vibrant piece.
As the planning progressed, however, personal circumstances intervened and began to change
the work’s tone – becoming substantially bleaker and more obsessive.
The title of the first movement, Pentimento, is defined as “an underlying image in a painting,
as an earlier painting, that shows through when the top layer of paint has become transparent
with age.� The melodic and harmonic material for the movement is entirely drawn from the
plainchant source, although it is completely transformed and covered up – as in a pentimento.
At various points, one can begin to hear the original plainchant “peek out� in subtle ways.
The opening section of the movement obsesses again and again on what sounds like a
“beginning� – as though it is trying to begin again and again. After a brief bassoon cadenza, a
fast and driving section starts, marked “sinister.� After driving through a series of
transformations on the plainchant material, a bridge passage leads to further attempts at the
“beginning� again. Finally, these attempts are given up, and the plainchant material (the
underlying layer) begins to show through quietly – in preparation for the next movement.
In the second movement, Interrupted Motet, the plainchant theme is used in a more
straightforward fashion. After the opening declamatory statements, the following sections
move between more free developmental techniques, based on the first movement’s
transformations, and “motet� sections – using cantus firmus methods and textures from
Renaissance music. The tone and palate is, however, much darker and more obsessive.
There is a brooding ponderousness to these contrapuntal developments. The final motet
section ends in a rageful shout, the plainchant material is presented again in full force, and the
pent-up energy dissipates to the close.

Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F/Bb
Trumpet in C
Trombone
Percussion (1 player):
tubular bells, vibraphone
(Percussionist needs one rosined bow for vibraphone.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(single strings)

This is the complete set of parts.  The full score and the individual parts are avaialbe as seperate items.

SKU: A0.889439

Menuett No. 6 was originally  written for pianoforte. 

 Because of its caracter, It can work perfectly as an introduction piece or for a little surprise encore in the end of a concert. 

It is also very easy to play, very appropriate for music students and beginners. And of course righten by no other than Mozart it is the perfect  piece for great artists and performers.

The original score was written for the pianoforte. I did an arrangement for woodwind quintet and made an extent use of interpretation symbols like fortes and pianos, crescendos etc., wish where total absent in the original score. 

I also had to shorten the length of some notes in order to facilitate the interpretation of the piece on woodwind instruments. Otherwise all the original notes are left unchanged. 

The score was written on Finale. 

The sound file, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score.

This is the first time that this version is published in Sheet Music Plus or anywhere else.

Thanks to Claudia Eppelt for the all the Love the wonderful Art cover and design.

Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Mary Jane, Schwarzenegger, Maria Koboldinha, Blue Man, Joe… 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all of You 

All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

Disclaimer: The score was written on Finale.

The sound file was produced with samplers from Garritan and conceived as an audio support for the presentation of the score.

SKU: A0.889432

I found this Passacaglia from Bach among some of my own handwritten manuscripts. It is a phenomenal piece.

Bach was definitive a great artist, a Genius.

Passacaglia is an Italian word. This music form was originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. In this piece we can clearly experience this „Spanish strumming between „Bars 137 and 145.

The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who transformed it into a series of continuous variations over an ostinato bass pattern (which itself may be varied).

I added to this piece some interpretation symbols and rearranged it for the harp but every single note was left as it would be found in the original version. 

The piece is appropriate for advanced performers.

Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. 

The piece is difficult but very Human. It requires focused endurance and some practice on certain passages. 

Once learned you will also be playing much better. 

Feel Free to apply in this piece the Art and technic that expresses entirely your individual skills and taste.

Have fun!

It is a piece that can be used in many different kinds of situations, from a serious concert hall to a marriage, it is perfect for Christmas celebrations and all other kinds of Spiritual events.

When performed Live It will give you back a great  feedback from the public, you will always want to have it in your repertoire.

The score was written on Finale.

The sound file is the version in D minor for a concert harp, it was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Luis Anjos Teixeira

Thanks to Claudia Eppelt for the all the Love, the wonderful painting and cover design.

Special Thanks to Johann Sebastian Bach, Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all of You 

All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

SKU: A0.576016

This is a suite of 5 organ pieces composed by David W Solomons originally performed by David Carlston Williams on 17 August 2014 on the organ of St Paul's Springfield Road, Sale (Cheshire, UK) Registrations are as suggested by the performer. (the sound sample is a recording of Passacaglia from the subsequent CD recording performed by David Carlston WIlliams in June 2015) The suggested order for this suite is: 1. Passacaglia: based on an ostinato passage in 3 time. The idea behind the passacaglia relates to the origin of the word, it is basically a gentle stroll down the street (pasar la calle in Spanish, which was converted into Passacaglia in Italian) 2. Dorina: a descriptive piece in Dorian mode based on a song about a cat, from the aptly named village of Chattevoix, who stalks, but never catches, a little bird. 3. Playtime: also about a cat, the composer's own cat who is playful and rushes around the house but occasionally stopping to pummel the soft furnishings. 4. Early Evening in Camden Town: a more serious and sad piece - in 3-3-2 time. It is an evocation of the poor folk in Camden and their dreams of what could be, if only….. It was originally a song, which the composer wrote when he was living in London, based on a poem by fellow Londoner Sandra Erös The streets are part of a toy town, waiting to be played with…. 5. The Bishop's Dance: a curious and comical piece in 11 time (3, 3, 3, 2). It comes from the legend of Robin Hood, in which Robin meets the bishop of Hereford, who had hoped to get the better of him, but Robin prevails and forces him to dance. The clumsy attempts of the ungainly Bishop to obey Robin's commands cause great merriment among the merry men To quote our vicar, Rev Barbara, after the recital For me music paints a picture, and, for that, I have got this picture of someone going for a stroll in their village and then they came across a very old cat wandering down the street imaging it could catch birds but never catching them. And then it would lie down for a sleep and dream of the days when it was a kitten.... It was a very reflective programme and turns our mind about What for the Autumn, what do we need to do next.. it really did fit in with the mood of the year, as we turn towards building up the programme for next year... So thank you, it gave us time to reflect in a very beautiful manner.... The suite is also available as separate pieces (with performances by David Carlston Williams).

SKU: A0.576012

This is one of a suite of organ pieces composed by David W Solomons performed by David Carlston Williams

Registrations are as suggested by the performer. (the sound sample is from the CD, available from this site)
 The suggested order for this suite is:
1. Passacaglia: based on an ostinato passage in 3 time. The idea behind the passacaglia relates to the origin of the word, it is basically a gentle stroll down the street (pasar la calle in Spanish, which was converted into Passacaglia in Italian) 2. Dorina: a descriptive piece in Dorian mode based on a song about a cat, from the aptly named village of Chattevoix, who stalks, but never catches, a little bird.
 3. Playtime: also about a cat, the composer's own cat who is playful and rushes around the house but occasionally stopping to pummel the soft furnishings.
4. Early Evening in Camden Town: a more serious and sad piece - in 3-3-2 time. It is an evocation of the poor folk in Camden and their dreams of what could be, if only….. It was originally a song, which the composer wrote when he was living in London, based on a poem by fellow Londoner Sandra Erös The streets are part of a toy town, waiting to be played with….
5. The Bishop's Dance: a curious and comical piece in 11 time (3, 3, 3, 2). It comes from the legend of Robin Hood, in which Robin meets the bishop of Hereford, who had hoped to get the better of him, but Robin prevails and forces him to dance. The clumsy attempts of the ungainly Bishop to obey Robin's commands cause great merriment among the merry men
 To quote our vicar, Rev Barbara, after the recital For me music paints a picture, and, for that, I have got this picture of someone going for a stroll in their village and then they came across a very old cat wandering down the street imaging it could catch birds but never catching them. And then it would lie down for a sleep and dream of the days when it was a kitten.... It was a very reflective programme and turns our mind about What for the Autumn, what do we need to do next.. it really did fit in with the mood of the year, as we turn towards building up the programme for next year... So thank you, it gave us time to reflect in a very beautiful manner....
The rest of the suite is also available on this site: separately (with performances by David Carlston Williams) and as a set

Video of Dorina:
https://www.youtube.com/watch?v=tunykPeiU4M