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Ross Carey  

Great Wall

Duration: 15' 00" Year: 2005
for a vocalising pianist

  • Programme Note

    Written during a month-long residency in November 2005 at the Visby International Centre for Composers, in Visby on the Swedish Baltic island of Gotland, this piece was inspired by the surroundings there- the history related to its importance in the Hanseatic League and prior to that the long Viking period; and in particular the old town with it’s beautifully preserved encircling medieval town wall.

    The piece consists of seven descriptive historical episodes, and includes two poems to be narrated by the pianist in episodes 2 and 7- ‘Clouds’ and ‘Centuries’. The vocalisations are mainly sung, hummed and whistled sounds, along with the breaths of the third section indicating the onerous task of building the wall.

  • Availability

Chris White  

Hannah's Music

Duration: 01' 26" Year: 2009
from the feature film One Hundred Mornings (Ireland)

Jack Body  

In the Curve of Song

 Year: 2003
for voice, tape, viola, flute/ piccolo and four percussionists

Alex van den Broek  

Still Standing Silent

Duration: 50' 00" Year: 2009
for four musicians and a contemporary dancer

  • Instrumentation
    for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass
  • Programme Note

    In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

    This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

    More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

    Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

    The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

    Alex van den Broek

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