Honest Music has in the composer's words a makeshift nature…the sad beauty of things coming together and things falling apart'. There are long expressive gestures with Romantic moments sputtering harp figures and glitchy staticky' noises. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated widely. Download the pre-recorded element HERE . If you encounter any problems pleaseemail promotion@musicsales.co.uk . Honest Music has in the composer's words a makeshift nature…the sad beauty of things coming together and things falling apart'. There are long expressive gestures with Romantic moments sputtering harp figures and glitchy staticky' noises. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated widely. Download the pre-recorded element HERE . If you encounter any problems please email promotion@musicsales.co.uk .

Three études for Piano by Nico Muhly . In preparation for writing a large (uncompleted) work for piano I decided to write three short pieces to get certain musical tics out of my system. Each of these three études addresses a specific rhythmic and harmonic gesture: the first Ostinati focuses on a gently lilting left hand contrasted with angular outbursts in the right hand usually in octaves. The second étude Quiet Music concerns itself with drones and chant-like music and the third Running explores slowly shifting harmonies pitted against very fast cross-hand playing. - Nico Muhly 2003These three études were written from January to March 2003 and were composed partially for performance in the VisionIntoArt/RockHotelPianoFest in New York City. étude #3 (Running) was premiered by Eric Huebner and is dedicated to him. Three études for Piano by Nico Muhly . In preparation for writing a large (uncompleted) work for piano I decided to write three short pieces to get certain musical tics out of my system. Each of these three études addresses a specific rhythmic and harmonic gesture: the first Ostinati focuses on a gently lilting left hand contrasted with angular outbursts in the right hand usually in octaves. The second étude Quiet Music concerns itself with drones and chant-like music and the third Running explores slowly shifting harmonies pitted against very fast cross-hand playing. - Nico Muhly 2003 These three études were written from January to March 2003 and were composed partially for performance in the VisionIntoArt/RockHotelPianoFest in New York City. étude #3 (Running) was premiered by Eric Huebner and is dedicated to him.

Pater Noster simply meaning 'Our Father' has been composed by Nico Muhly for SATB Chorus With Soprano Solo and was originally commissioned for the 2008 Edington Music Festival. Pater Noster simply meaning 'Our Father' has been composed by Nico Muhly for SATB Chorus With Soprano Solo and was originally commissioned for the 2008 Edington Music Festival.

Nico Muhly's In As Long As It Takes for Ensemble. Commissioned by Crash Ensemble with funds provided by The Arts Council / An Chomhairle Ealaion. The first performance took place on 17 August 2017 at the Kilkenny Arts Festival Kilkenny Ireland. Duration: 1.5 minutes

POD-I'm Only Sixteen! is a work by Nico Muhly taken from his opera 'Two Boys' commissioned by the Metropolitan Opera. Scored for Tenor and Piano Accompaniment the piece lasts around 3 minutes. I'm Only Sixteen! is a work by Nico Muhly taken from his opera 'Two Boys' commissioned by the Metropolitan Opera. Scored for Tenor and Piano Accompaniment the piece lasts around 3 minutes.

In Bright Mass With Canons the canonical motifs are present right from the beginning and carry through almost every bar of the work. There are echoes of early English Choral writing and abstracted sections with flurries of sound interspersed with more Choral writing all in the most modern idioms. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated with artists such as PhilipGlass Björk and Sigur Rós. In the December 2014 edition of Organists' Review Christopher Maxim writes that 'the vocal writing frequently evokes Renaissance polyphony' and 'the language is fresh and contemporary with much zest being added by the organ part.'

Nico Muhly's Looking Up for SATB choir and Orchestra. Commissioned by the Cathedral Choral Society. Made possible by the William Remsen Strickland Endowment Fund to remember the concerts of the Cathedral Choral Society during World War II. The first performance was given by the Cathedral Choral Society conducted by Patrick Dupre Quigley on 21 May 2017 at Washington National Cathedral Washington D.C. USA. Nico Muhly's Looking Up for SATB choir and Orchestra. Commissioned by the Cathedral Choral Society. Made possible by the William Remsen Strickland Endowment Fund 'to remember the concerts of the Cathedral Choral Society during World War II'. The first performance was given by the Cathedral Choral Society conducted by Patrick Dupre Quigley on 21 May 2017 at Washington National Cathedral Washington D.C. USA.

Nico Muhly 's A Great Stone for treble semichorus and SATB choir unaccompanied. When Joseph had taken the body he wrapped it in a clean linen cloth And laid it in his own new tomb which he had hewn out in the rock: and he rolled a great stone to the door of the sepulcher and departed. Matthew 27 vv.59-60 King James Version (1611) Nico Muhly 's A Great Stone for treble semichorus and SATB choir unaccompanied. When Joseph had taken the body he wrapped it in a clean linen cloth And laid it in his own new tomb which he had hewn out in the rock: and he rolled a great stone to the door of the sepulcher and departed. Matthew 27 vv.59-60 King James Version (1611)

Viola Concerto is a piece composed by Nico Muhly for Viola and Piano Reduction. This piece is dedicated to the violist Nadia Sirota for whom it was written and by whom it was first performed. A full performance lasts around 24 minutes this is the Score and Part . Viola Concerto is a piece composed by Nico Muhly for Viola and Piano Reduction. This piece is dedicated to the violist Nadia Sirota for whom it was written and by whom it was first performed. A full performance lasts around 24 minutes this is the Score and Part .

Tvísöngur is a composition for large ensemble written by Nico Muhly commissioned by the Los Angeles Philharmonic Orchestra. Tvísöngur is a specific type of Icelandic two-part singing that can be found in texts as well as oral traditions Muhly writes. Some of the tradition seems like much early music to stem from an exercise in voice-leading while some other examples are more social impromptu and secular. These arrangements attempt to frame the tradition through orchestration and wildly shifting contexts lighting effects and textures. The piece was composed in 2012 and lasts around 5 Minutes. Tvísöngur is a composition for large ensemble written by Nico Muhly commissioned by the Los Angeles Philharmonic Orchestra. Tvísöngur is a specific type of Icelandic two-part singing that can be found in texts as well as oral traditions Muhly writes. Some of the tradition seems like much early music to stem from an exercise in voice-leading while some other examples are more social impromptu and secular. These arrangements attempt to frame the tradition through orchestration and wildly shifting contexts lighting effects and textures. The piece was composed in 2012 and lastsaround 5 Minutes.

Score-Nico Muhly's Principles Of Uncertainty for 2-6 players. Composed in 2007 Nico Muhly's Principles Of Uncertainty for 2-6 players. Composed in 2007 Duration: 26 minutes

Soprano/Piano-The world premiere was given by Jessica Rivera and Maryann Kim in Weill Recital Hall Carnegie Hall New York City on 13 March 2009. The text is taken from Psalms 63 and 56 and from The Gospel according to St. John. The world premiere was given by Jessica Rivera and Maryann Kim in Weill Recital Hall Carnegie Hall New York City on 13 March 2009. The text is taken from Psalms 63 and 56 and from The Gospel according to St. John.

Three Études For Viola was composed by American composer and arranger Nico Muhly . Written for Nadia Sirot one of Muhly 's friends. Three Études For Viola was designed as performance pieces as well as practice the Études help to deal with the messy fifth-based string crossings Muhly 's harmonic language sometimes outlines. These three études can be performed in any order all together or singularly. The pre-recorded material for Three Études For Viola should be mixed in such a way that the Viola rides in the middle of the texture. Étude 2 however should favour the solo Viola. Three études For Viola was composed by American composer and arranger Nico Muhly . Written for Nadia Sirot one of Muhly 's friends. Three études For Viola was designed as performance pieces as well as practice the études help to deal with the messy fifth-based string crossings Muhly 's harmonic language sometimes outlines. These three études can be performed in any order all together or singularly. The pre-recorded material for Three études For Viola should be mixed in such a way that the Viola rides in the middleof the texture. étude 2 however should favour the solo Viola. Download the pre-recorded element HERE . If you encounter any problems please email promotion@musicsales.co.uk .

Bright Star Carol is a Christmas work scored for Treble Voices SATB Choir and Organ and composed for Mark Williams and the Choirs of Jesus College Cambridge in 2010. The work sets the text of Robert Herrick. Bright Star Carol is a Christmas work scored for Treble Voices SATB Choir and Organ and composed for Mark Williams and the Choirs of Jesus College Cambridge in 2010. The work sets the text of Robert Herrick.

So To Speak is an extended meditation on an anthem for Pentecost by Thomas Tallis entitled Loquebantur Variis Linguis (they spoke in many tongues). After organizing the material for the piece I wrote a melody that works against underneath and above Tallis's lines to create counterpoint made of old and new elements. Patterns of aggressive woodwind scales and ornaments evoke some of the hysteria inherent in glossolalia (ecstatic speaking in tongues). The central section of the piece gestures towards an insect-like musical and religious fervor. So To Speak is scored for orchestra and lasts seven minutes. It is dedicated to Amiel Melnick. So To Speak is an extended meditation on an anthem for Pentecost by Thomas Tallis entitled Loquebantur Variis Linguis (they spoke in many tongues). After organizing the material for the piece I wrote a melody that works against underneath and above Tallis's lines to create counterpoint made of old and new elements. Patterns of aggressive woodwind scales and ornaments evoke some of the hysteria inherent in glossolalia (ecstatic speaking in tongues). The central section of the piece gestures towards an insect-like musical and religious fervor. So To Speak is scored for orchestra and lasts seven minutes. It is dedicated to Amiel Melnick.

Drones & Violin was composed by Nico Muhly for Pekka Kuusisto in 2010. Each movement begins with either the Piano or Violin establishing a drone for the duration of the movement with either the Piano or Violin producing a delicate expressive line over the top. Each movement triggers a different sense of emotion throughout. Drones & Violin was composed by Nico Muhly for Pekka Kuusisto in 2010. Each movement begins with either the Piano or Violin establishing a drone for the duration of the movement with either the Piano or Violin producing a delicate expressive line over the top. Each movement triggers a different sense of emotion throughout.

Written for percussion quartet. The first performance of Ta and Clap was in Tokyo May 2004. Written for percussion quartet. The first performance of Ta and Clap was in Tokyo May 2004.

For a piece with such a strong electronic component 'It Goes Without Saying' is surprisingly organic. While the electronics include chillier metallic noises—samples ranging from a kitchen whisk to a unique set of tiny bells—most prominent are the warm woody sounds of a harmonium and of clicking clarinet-keys sounds that share a certain sonic DNA with the live components of the performance.The piece also develops according to organic principles. Over the initial drone of the harmonium the rhythm track and the clarinets build the material of the piece up from small replicating cells into a lively and elaborate texture. The minutely wrought surface isstretched over the simplest possible formal contour the drone undergirding the piece progressing from C to F and back again. When the slowly building dissonance of the underlying harmonium chord finally reaches its tipping point the resolution corresponds to a dramatic timbral shock: a shocking burst of industrial noise dominating rather than complementing its acoustic surroundings. Finally the machine noises die away and the harmonies return home the texture warms once again—now leavened by the gentle sound of the celesta. - Program Notes © 2007 Daniel Johnson Performance Notes: The clarinet should be placed in the center of the stage. If amplification is used (which is not necessary but can help solve certain balance issues) it is recommended that there be one microphone traditionally placed and another close to the side of the instrument gently amplifying the natural sound of the keys clicking. Download the pre-recorded element HERE . If you encounter any problems please email promotion@musicsales.co.uk .

The Place Of Understanding is a work by Nico Muhly for High Voice and Organ commissioned by The Hanson Institute for American Music of the Eastman School of Music at the University of Rochester. The work sets 2 texts by Christina Rossetti and from the Book of Job and lasts around 13 minutes. Muhly states that The Place Of Understanding is essentially an Organ solo piece with tenor commentary making the Organ an equal partner in treating these two very diverse texts. The Place Of Understanding is a work by Nico Muhly for High Voice and Organ commissioned by The Hanson Institute for American Music of the Eastman School of Music at the University of Rochester. The work sets 2 texts by Christina Rossetti and from the Book of Job and lasts around 13 minutes. Muhly states that The Place Of Understanding is essentially an Organ solo piece with tenor commentary making the Organ an equal partner in treating these two very diverse texts.

Nico Muhly 's Old Bones is a setting of four texts three of which are the media's reaction to the discovery of the bones of Richard III in a Leicester car park the fourth is a poem in praise of the man who supposedly killed the king. Arranged for Countertenor Voice and Lute it was composed in 2013. According to Muhly Old Bones begins with a news report that is delivered as a recitative while the Lute parts go through a number of interesting patterns. The work sets two texts by Philippa Langley of the Richard III Society who in a series of interviews brought an emotion and passion to the rediscovery of the bones that humanised the remains and brought the life anddeath of the king to the public's attention. It is therefore fitting that Old Bones ends with her words: Everyone else was looking at the old bones and I was seeing the man. Nico Muhly 's Old Bones is a setting of four texts three of which are the media's reaction to the discovery of the bones of Richard III in a Leicester car park the fourth is a poem in praise of the man who supposedly killed the king. Arranged for Countertenor Voice and Lute it was composed in 2013. According to Muhly Old Bones begins with a news report that is delivered as a recitative while the Lute parts go through a number of interesting patterns. The work sets two texts by Philippa Langley of the Richard III Society who in a series of interviews brought an emotion and passion to the rediscoveryof the bones that humanised the remains and brought the life and death of the king to the public's attention. It is therefore fitting that Old Bones ends with her words: 'Everyone else was looking at the old bones and I was seeing the man.'