Composed by Sally Beamish. Duet or Duo; Mixed Instruments - Miscellaneous Ensemble. Score and Part(s). 60 pages. Edition Peters #98-EP73718. Published by Edition Peters (PE.EP73718).
ISBN 9790577023847.
Years after my mother sold the quirky, rambling house in Barnsbury, London, where I grew up, I went back. It was strange to see a little girl in the window of what had been my bedroom. Later, when I met the family who had moved in, I discovered that this little girl had become a viola player.
This piece, a set of miniatures, is a series of glimpses into my childhood in that house. There was always music my brother a trumpeter and mother a violinist my father a good amateur flautist and singer, and my younger brother, who has Downs Syndrome, an avid conductor of his huge collection of vinyl.
We lived in a crescent six houses grouped around a patch of grass and bushes which was a paradise for children. The piece opens with an empty Swing, which is gradually set in motion. My trumpeter brother was crazy about football and bikes; my younger brother content to watch us as we invented games, one of which involved the swing, a bike, and a football which was called Oily Oily. None of us can remember why, or what the rules were...
The second movement, Midnight Blue, repeats a sequence of ten chords. This chaconne refers back to Bach, and my love of the piano duet arrangements I would play with my paternal grandmother. Our father was a shadowy figure, quiet, detached, and usually absorbed in his own projects. I remember a rare drinks party my parents had organised, when he wore a navy velvet jacket which he called his midnight blue. I wondered if the jacket had come from a racier past I would never know about. This music, though, is about his absence. He was there, but not there, and I only really got to know him after he left.
The central movement (tude) takes a bowing pattern I struggled with in my jazz lessons, giving me an opportunity to get to grips with it. The music is syncopated intrinsically unstable, though set against a steady beat. That house in the crescent witnessed hours of practice on violin, piano, viola, flute, trumpet - oft.
Composed by Sally Beamish. Duet or Duo; Mixed Instruments - Miscellaneous Ensemble. Score and Part(s). 60 pages. Edition Peters #98-EP73718. Published by Edition Peters (PE.EP73718).
ISBN 9790577023847.
Years after my mother sold the quirky, rambling house in Barnsbury, London, where I grew up, I went back. It was strange to see a little girl in the window of what had been my bedroom. Later, when I met the family who had moved in, I discovered that this little girl had become a viola player.
This piece, a set of miniatures, is a series of glimpses into my childhood in that house. There was always music my brother a trumpeter and mother a violinist my father a good amateur flautist and singer, and my younger brother, who has Downs Syndrome, an avid conductor of his huge collection of vinyl.
We lived in a crescent six houses grouped around a patch of grass and bushes which was a paradise for children. The piece opens with an empty Swing, which is gradually set in motion. My trumpeter brother was crazy about football and bikes; my younger brother content to watch us as we invented games, one of which involved the swing, a bike, and a football which was called Oily Oily. None of us can remember why, or what the rules were...
The second movement, Midnight Blue, repeats a sequence of ten chords. This chaconne refers back to Bach, and my love of the piano duet arrangements I would play with my paternal grandmother. Our father was a shadowy figure, quiet, detached, and usually absorbed in his own projects. I remember a rare drinks party my parents had organised, when he wore a navy velvet jacket which he called his midnight blue. I wondered if the jacket had come from a racier past I would never know about. This music, though, is about his absence. He was there, but not there, and I only really got to know him after he left.
The central movement (tude) takes a bowing pattern I struggled with in my jazz lessons, giving me an opportunity to get to grips with it. The music is syncopated intrinsically unstable, though set against a steady beat. That house in the crescent witnessed hours of practice on violin, piano, viola, flute, trumpet - oft.
Preview: Crescent (Score and Parts)
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