£9.95
A lovely suite of pieces based on images of different animals. Written for Sally Mays and broadcast by her on ABC. For studios and schools.
Piece Description
A lovely suite of pieces based on images of different animals. Written for Sally Mays and broadcast by her on ABC. For studios and schools.
Review: “This is modern music of high quality – recommended.” – Piano Guild Notes, July 1995
Additional information
| Media | |
|---|---|
| Composer | |
| Instrumentation | |
| Difficulty | |
| Series | |
| Movement Titles | Goldfish, Dragonfly, Baby Elephant, Snail Nocturne and Happy Hedgehog |
Biography
Biography
Carr, Gordon
Gordon Carr was born in Matlock, Derbyshire in 1943 and educated at Dulwich College and the Royal Academy of Music where he studied the horn with Barry Tuckwell. He has enjoyed a varied freelance career, which encompassed playing with all the major London orchestras. As a session musician he played on the soundtrack of numerous films including 'The Boys from Brazil', 'The Spy who Loved Me' and 'Straw Dogs' and on the backing tracks of much pop music. As a soloist he appeared at the Wigmore Hall, on the South Bank and around the UK, Italy and Belgium. In his twenties he began to write music, and wrote several large scale works for the Locke Brass Consort whilst a member of this group. In all he has written in excess of 130 works. For thirty years he taught at The Centre for Young Musicians and throughout his career has coached and conducted on holiday music courses. Conducting engagements have been with The Locke Brass Consort, London Brass Consort, London Youth Symphonic Band, London Youth Chamber Orchestra, Royal Academy of Music Brass Ensemble, London College of Music Symphonic Band and the International Summer School Orchestra at Keele.
Related products
Written for Trinity College of Music where the composer Gordon Carr was a professor for eighteen years. Fun music and rhythmically demanding.
Horn & Piano
Written in memory of Lennie Clarke, who was a fellow student at the Royal Academy of Music, and played by the composer at a memorial concert. The work has been used in final recitals at the Royal Academy of Music and Trinity College of Music.
This charming four movement work, that aptly sounds like the title, is heavily influenced by twentieth century masters. The first movement dances between key signatures, creating the feeling of puppets not altogether in control of their faculties, while the second movement is unashamedly intense in character. The third movement includes some very nice jazz-like voicing at the beginning of the movement, with Carr using all the piano registers to add depth and colour. The Latin flavour of the final movement is a total departure from the previous three movements, bringing the ear back to the ballet again, this time in a fiery dance. The asymmetrical rhythms, shifting time signatures and registers, and the once-again intense chromatics jar us back to the herky-jerky puppets as they summon their ersatz dance skills. For the advanced intermediate performer as well as seasoned professionals.
This piece takes its title of Lyric Suite from that by Edvard Grieg, a composer much admired by the arranger. There is no attempt to imitate his style, but Grieg said that he wanted to make houses for people to live in rather than build cathedrals, and that is very much the thought behind these pieces.
This short lyrical piece was originally written for harmonica and harp. It is a free flow of musical thought on a simple melody, described by flautist Rachel Smith as "luscious", which develops by way of numerous key changes and embellishment.