Nico Muhly 's I Cannot Attain Unto It for SSATB choir. Dedicated to the Manhattan Choral Ensemble. Nico Muhly 's I Cannot Attain Unto It for SSATB choir. Dedicated to the Manhattan Choral Ensemble.

Far Away Songs for Soprano String Quartet and Piano was commissioned by the Juilliard School for the Alice Tully Vocal Arts Debut Recital in Alice Tully Hall. The texts are by C. P. Cavafy and translated by Daniel Mendelsohn. Far Away Songs for Soprano String Quartet and Piano was commissioned by the Juilliard School for the Alice Tully Vocal Arts Debut Recital in Alice Tully Hall. The texts are by C. P. Cavafy and translated by Daniel Mendelsohn.

Originally for Choir String Quartet Percussion & Organ with text from Leaves Of Grass . Found here arranged for SATB and Piano accompaniment. Originally for Choir String Quartet Percussion & Organ with text from Leaves Of Grass . Found here arranged for SATB and Piano accompaniment.

Radiant Music was written for flautist Alice K. Dade at her request for a short recital piece. The CD part is made up of several episodes of shimmering music for flutes dulcimers organs and sampled baroque strings trumpet and choir. This piece attempts to obsess over a repeated sequence of chords - this progression appears in the opening bars of the piece. This sequence reappears in each episode as a harmonic goal for the flute whose part circumnavigates it but never hits it exactly. Also at play in Radiant Music is a notion of fast music that moves slowly versus slow music that moves quickly. This is most evident in the Throbbing music which is very fast but hasan immensely slow harmonic motion and in the conclusion which is made of one chord reworked over a long stretch of time. Radiant Music is dedicated to Alice K. Dade with thanks to Alex Sopp who edited the part in 2007. Download the pre-recorded element HERE . If you encounter any problems please email promotion@musicsales.co.uk . Radiant Music was written for flautist Alice K. Dade at her request for a short recital piece. The CD part is made up of several episodes of shimmering music for flutes dulcimers organs and sampled baroque strings trumpet and choir. This piece attempts to obsess over a repeated sequence of chords - this progression appears in the opening bars of the piece. This sequence reappears in each episode as a harmonic goal for the flute whose part circumnavigates it but never hits it exactly. Also at play in Radiant Music is a notion of fast music that moves slowly versus slow music that moves quickly. This is most evident in the Throbbing musicwhich is very fast but has an immensely slow harmonic motion and in the conclusion which is made of one chord reworked over a long stretch of time. Radiant Music is dedicated to Alice K. Dade with thanks to Alex Sopp who edited the part in 2007. Download the pre-recorded element HERE . If you encounter any problems please email promotion@musicsales.co.uk .

Vocal Score-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. Muhly first fell in love with Byrd’s four-part anthem Senex Puerum Portabat during his days as a chorister. The ‘fluidity of the lines the relentless lilting rhythm and the way Byrd both avoided and cradled the text’ inspired the composer to follow a life in music. Written early on in Muhly 's career this piece sets the same text in the modern style. The firststatement of the words is a capella with ecstatic brass entering in the restatement. The ancient Hodie Christus Natus Est follows on seamlessly in a new mood. 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. Muhly first fell in love with Byrd’s four-part anthem Senex Puerum Portabat during his days as a chorister. The ‘fluidity of the lines the relentless lilting rhythm and the way Byrd both avoided and cradled the text’ inspired the composer to follow a life in music. Written early on in Muhly 's career thispiece sets the same text in the modern style. The first statement of the words is a capella with ecstatic brass entering in the restatement. The ancient Hodie Christus Natus Est follows on seamlessly in a new mood.

A Hymn On The Nativity For Chorus composed in 2011 by American composer Nico Muhly is a festive work for SATB Choir and Organ setting text by Ben Jonson. It was commissioned by Dean Close School for Tewkesbury Abbey Schola Cantorium and Dean Close School Chapel Choir for the World Premiere Performance on December 9 2010 A Hymn On The Nativity For Chorus composed in 2011 by American composer Nico Muhly is a festive work for SATB Choir and Organ setting text by Ben Jonson. It was commissioned by Dean Close School for Tewkesbury Abbey Schola Cantorium and Dean Close School Chapel Choir for the World Premiere Performance on December 9 2010

Commissioned by Works and Process at the Guggenheim Museum New York. Premiered on December 15 2008 by the Vox Vocal Ensemble and the Graham Ashton Brass Ensemble conducted by George Steel. For mixed SATB chorus and Brass Ensemble. Nico Muhly - Senex Puerum Portabat by musicroom Commissioned by Works and Process at the Guggenheim Museum New York. Premiered on December 15 2008 by the Vox Vocal Ensemble and the Graham Ashton Brass Ensemble conducted by George Steel. For mixed SATB chorus and Brass Ensemble. Nico Muhly - Senex Puerum Portabat by musicroom

Classical composer Muhly said of this commissioned piece: I Shudder to Think is a very awkward piece. It's very fast very aggressive very dream music. This Score and Parts has been composed for Percussion Quintet. Classical composer Muhly said of this commissioned piece: I Shudder to Think is a very awkward piece. It's very fast very aggressive very dream music. This Score and Parts has been composed for Percussion Quintet.

For Nine Male Voices And Orchestra-Luminous Body is a collaboration between Nico Muhly and Craig Lucas written in the period immediately following their narratively charged opera 'Two Boys'. Luminous Body is as a result abstract and poetic in gesture and form. The text interpolates among other things stylized versions of the teachings of Christ Buddha Mohammed and Plato; these are scrambled and re-contextualized and in a sense serve as background for the textures of the combination of nine male Voices and Orchestra. Part 1 introduces the chord structure that governs the entire piece and ends with the repeated words “only your will is your own.” The second and third parts loosely dealing withthe Devil and the importance of choosing one’s words are based on drones generated by the Voices and the strings; the constant (but slightly morphing) texture is meant to be meditative and vague. Muhly always wanted to set the Beatitudes and Craig paraphrased them beautifully here; the tenors intone the word “blessed” over and over while the strings and winds reiterate the passacaglia from the opening of the piece. The fifth and final part is a series of proverbs. The Orchestra begins in a series of loose ecstatic drones which increase in intensity (“Make your own family!”) until you jump suddenly to the garden of Gethsemane where Christ was betrayed while his disciples slept. “Why are you sleeping? Couldn’t you stay awake for one more hour?” he asks while the strings and winds lazily chant in the background. Luminous Body was premiered by The St. Paul Chamber Orchestra and Cantus. Luminous Body is a collaboration between Nico Muhly and Craig Lucas written in the period immediately following their narratively charged opera 'Two Boys'. Luminous Body is as a result abstract and poetic in gesture and form. The text interpolates among other things stylized versions of the teachings of Christ Buddha Mohammed and Plato; these are scrambled and re-contextualized and in a sense serve as background for the textures of the combination of nine male Voices and Orchestra. Part 1 introduces the chord structure that governs the entire piece and ends with the repeated words “only your will is your own.”The second and third parts loosely dealing with the Devil and the importance of choosing one’s words are based on drones generated by the Voices and the strings; the constant (but slightly morphing) texture is meant to be meditative and vague. Muhly always wanted to set the Beatitudes and Craig paraphrased them beautifully here; the tenors intone the word “blessed” over and over while the strings and winds reiterate the passacaglia from the opening of the piece. The fifth and final part is a series of proverbs. The Orchestra begins in a series of loose ecstatic drones which increase in intensity (“Make your own family!”) until you jump suddenly to the garden of Get

Nico Muhly’s Viola Concerto is a work for Solo Viola and Orchestra co-commissioned by Orquesta y Coro Nacionales de España Detroit Symphony Orchestra Festival de Saint Denis & the National Arts Centre Orchestra and Alexander Shelley. It was first performed on 6th February 2015 and lasts around 24 minutes. This is the full score. Nico Muhly ’s Viola Concerto is a work for Solo Viola and Orchestra co-commissioned by Orquesta y Coro Nacionales de España Detroit Symphony Orchestra Festival de Saint Denis & the National Arts Centre Orchestra and Alexander Shelley. It was first performed on 6th February 2015 and lasts around 24 minutes. This is the Full Score .

Nico Muhly 's All Our Works for unaccompanied SATB Choir. This piece incorporates words by Thomas Cranmer. It was commissioned by The Cardinall's Musick for their 25th Anniversary in 2014 with the support oftheir friends. The first performance took place on 26 July 2014 conducted by Andrew Carwood atWigmore Hall London. Nico Muhly 's All Our Works for unaccompanied SATB Choir. This piece incorporates words by Thomas Cranmer. It was commissioned by The Cardinall's Musick for their 25th Anniversary in 2014 with the support oftheir friends. The first performance took place on 26 July 2014 conducted by Andrew Carwood atWigmore Hall London.

Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello. Nico Muhly 's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Part for Cello. Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello.

Nico Muhly's Marrow composed for SATB choir unaccompanied with texts from Psalm 63 vv.1-3 6-8 Book of Common Prayer (1662). Commissioned by the Netherlands Chamber Choir for the project 150 Psalms to be premiered by the Tallis Scholars during Utrecht Early Music Festival September 1st 2017. Duration: c. 3 minutes. Nico Muhly's Marrow composed for SATB choir unaccompanied with texts from Psalm 63 vv.1-3 6-8 Book of Common Prayer (1662). Commissioned by the Netherlands Chamber Choir for the project 150 Psalms to be premiered by the Tallis Scholars during Utrecht Early Music Festival September 1st 2017. Duration: c. 3 minutes. 'Last September in one weekend in Utrecht settings were sung of all 150 Psalms by 150 different composers covering 1000 years of choral music. The Tallis Scholars were one of the four choirs taking part and among their contributions was this new piece by Nico Muhly. The words are from the Book ofCommon Prayer version of Psalm 63 with the title teasingly taking one word from My soul shall be satisfied even as it were with marrow and fatness.' Cries of O God' provide a fluid background to an almost plainchant-like proclamation of the text at start and finish with other voices gradually joining the psalm text in the central section until all unite on when my mouth praiseth thee with joyful lips'. For a choir happy to subdivide into 4S 2A 2T and 2B it is a setting of imagination and beauty.' - Sunday by Sunday

Whispered And Revealed is a setting of H. W. Longfellow's 'Snow-Flakes' by composer Nico Muhly . It is arranged for SATB Choir and Harp and this is the full score. The piece lasts approximately 3 and a half minutes. Nico Muhly himself states that the music of Whispered And Revealed reflects the delicacy of winter weather while the text and music hint at a certain anxiety. The piece was commissioned by Essential Voices USA and is dedicated to their conductor Judy Clurman and was composed in 2014. Whispered And Revealed is a setting of H. W. Longfellow's 'Snow-Flakes' by composer Nico Muhly . It is arranged for SATB Choir and Harp and this is the full score. The piece lasts approximately 3 and a half minutes. Nico Muhly himself states that the music of Whispered And Revealed reflects the delicacy of winter weather while the text and music hint at a certain anxiety. The piece was commissioned by Essential Voices USA and is dedicated to their conductor Judy Clurman and was composed in 2014.

Nico Muhly 's Our Present Charter is a work for SATB Chorus and Organ Accompaniment commissioned for the Choir of the Temple Church Mother-Church of the Common Law to celebrate the 800th Anniversary of the Sealing of Magna Carta on 15th June 1215. This work lasts around 16 minutes. Nico Muhly 's Our Present Charter is a work for SATB Chorus and Organ Accompaniment commissioned for the Choir of the Temple Church Mother-Church of the Common Law to celebrate the 800th Anniversary of the Sealing of Magna Carta on 15th June 1215. This work lasts around 16 minutes.

Nico Muhly's Clear Loud Bright Forward is a one-act ballet created by Benjamin Millepied for the Paris Opera Ballet premiered at the Palais Garnier Paris on 25th September 2015. Written for Orchestra with a duration of approximately 35 minutes. Nico Muhly's Clear Loud Bright Forward is a one-act ballet created by Benjamin Millepied for the Paris Opera Ballet premiered at the Palais Garnier Paris on 25th September 2015. Written for Orchestra with a duration of approximately 35 minutes.

Nico Muhly 's Slow is a work for Viol Consort (2 Treble Viols a Tenor Viol and 2 Bass Viols) that was commissioned by Fretwork and first performed by them on 5th February 2015 at King's Place London. The work lasts around 8 minutes. This is the score and parts. Nico Muhly 's Slow is a work for Viol Consort (2 Treble Viols a Tenor Viol and 2 Bass Viols) that was commissioned by Fretwork and first performed by them on 5th February 2015 at King's Place London. The work lasts around 8 minutes. This is the score and parts.

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.'

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.

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 .