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shivereens julian grant


the right of julian grant to be indentified as composer of these works has been asserted by him in accordance with the copyright, designs and patents act 1988. copyright Š 2009 by julian grant all rights reserved published by andromache music, a division of andromache books, london ISBN 978-1-4452-0157-3 cover image: shivereens Š by tillie lighte, all rights reserved


julian grant selected reviews

his music has a cracking vitality……vocal lines are generously phrased. - rupert christiansen – the telegraph delightfully attractive music - michael kennedy – sunday telegraph julian grant’s score is fluent, copious and thoroughly musical; its technique is assured - robin holloway – the spectator all the flair for unfolding plot and narrative to be expected from this gifted musical dramatist - nicholas williams – the independent grant’s music is full of engaging and humorous ideas. easy to listen to but yet rewarding, this music has purpose, direction and serves a dramatic function - john allison – opera magazine julian grant has theatrical nous, and a keen sense of comic timing, which is a rare gift for a composer - michael white –independent on sunday an abyss of ear-shattering triviality - robert henderson – the telegraph tuneful, sharp-witted music held a captive audience to the end - robert maycock – the independent


shivereens for piano

julian grant

andromache books


shivereens shivereen – noun: shard, fragment (colloquial scottish)

note this is by no means a through composed cycle and need not be played in printed order selection and context are entirely at the whim of the performer these pieces are diverse, arbitrary, doodlings, a piano blog, a diary contents are alphabetical only


contents almost all in white

1

artfully air brushed

2

attitude

4

borne on fallen angels wings

8

a bracing constitutional

14

can we have a tango please mr ogawa

20

congenial

24

dancing for daddies

26

the death throes of oleg the wise

28

diminishing returns

30

distant troubadour

36

doodlesack

40

the ecstasy quotient

42

fifth year fandango

43

gakugei-daigaku – full moon with mist

44

heroines of the torah

46

june 21 08 r.i.p. rimsky

54

letter to the other side

56

‌..mach tzu sein aigele

58

mock moon

60

moonshine

63

my secret mongolia

66

ninety – love: your serve

68

notte di maschere

70


oblomov

74

on finding, unexpectedly, gustav holst’s gravestone in chichester cathedral

76

on hearing an aria by handel

78

on the ferry from oban

80

on the ferry to oban (with squall)

83

prelude….to greater things

88

reminiscence of ‘abesalom and eteri’

92

rush hour chorale

96

there are no heroes anymore

99

voice locked in

102

waltz with antimacassar: kiss me.…again?

104

white wings unfurl

108 * * *

concordance

113


1

almost all in white

for peter

semplice q = 72

 



 

 

  

 



    

 

    

   

    

    

 

    

 



   



 



 

    3





  



4

    

 

 

 

4

   

  

 

  



        3

   

4

 

 

© julian grant 2009 all rights reserved

 

    

 

 

RH

    november 1999 hong kong


2

artfully air brushed

for monika beisner

 

           

 

 

    

 

       

     



        



    

© julian grant 2009 all rights reserved

       

 

     

    

     

   

 



     

            

16

 

 

 

         

     

    

12

           

 

p

7

 

fleet and light h. = 76

 







   

    

mf

 

  

     

     

 


3

21

 





     

 

   

  

  

 

      

       

       

   

freely

      

slower

               

31

    

         

38

 

 

  

         4

   

  

 

 

f

         







 

 

  

pp

 

 

    

        

    

    

     

pp

       

26

 

     

 a tempo 

           

 

p crisp

           

august 2000 tokyo


4

attitude

 

for christina jones and peter czajkowski

strutting h = 66

f

  

4

 

     

 

          

           

       sf   



 

         

 f

  

 

 

           



         

                           

rushing ahead

piu legato

7

p

                

 10          f

 

        

                  ff martellato

                       

© julian grant 2009 all rights reserved

 a tempo  

f

 

 

              


5 rushing ahead

13

    

16

         



        

      



      

legato    piu             

mf

p

       

p

       

                   

                                      19                      

        

21

  a tempo

              p

ff martellato

                   

f

 





sf

     

 

          



                p  sf           

25



 

 

 

 sf

 ff

  

  

 

 

  

         p         

             

  

sf

   ff

 

 

 


6

29

 

33

         

f p

sf

   

      

p

     

        

   

  

 

p

    

mf

 

39

ff

36



    

   

               

sf

      p

    

  

 

piu legato



  

 



          

sf

            

 a tempo  

 

                    sf

 

sf

         

       

 

    

ff

f



 

                        

  

sf

    

 rushing ahead 

         

       

 

  

 

        

     


  43         

 

7

   



  6  rushing ahead           6 45     3                 

 

   



              fff

 

     



 

3

51

 

54

 

 

       

a tempo

f

 

ff

3

                          



   

3

     

48

       

p delicate, playful

 

 

  

   



p





                



 

f







     

       

   

 

                                            a tempo rushing ahead                                             sf sfffz ff martellato                       august 2000  tokyo  rev may

2009 beijing


8

borne on fallen angels' wings

 

 prestissimo  

for meredith oakes

h. = 96

pp smooth, like incense

             

with a halo of pedal

3

       





               7                     

9

       







 

 

   

  

     



  

             

   

 

     

© julian grant 2009 all rights reserved

       



      

  

 

     

5

            



    

   

    

sf

     


9

11

          p  

                

   

13

 

   

      

                            

15

       

  

17

���



  

19

  

 

   

mf

   

  

    



 

  

  

p   

 

    

 mf

  







     



      

           

 

            

p





  

             

     



 


10

    

 

21

 

ff

       

23

  



25

    

pp





    

28

  







  

27



 

 

  



       







    





   



  

















    

      

    

     

       





         


11

29

      

  

         

30

                 

31

     

32

33

 



 

              

              p        

  

     

  

    

        

   

 

  

    

 

              

                    


12

35

 

   

      



mf

             



                  

36

 

p



 



 





                   

37

  

















                           

38

39

     

  

    



     

     





 

             







 


41

 

 

 















                  

 

43

                



42

13















                 









                             

44









                               

45

september 2000 tokyo rev august 2009 beijing


14

a bracing constitutional

 a lively saunter       



p semplice

 



for alan biffen and rosie

q = 152

        



 

 

        

       



    

 

 

 

 

      





p

pp

4

   

7

pp

    

    

10

[sempre p]

 

  

  

  

 

                © julian grant 2009 all rights reserved

     

          

  

             p scherzando

   

 

p

         

  

  



             


15

  

  

   

12

    

  

  

                             

         

14

 

               

16

  





 

                                     

 

18

 

mf

 

       

      

 

    

      





 

                                         


16

   

  

20



   

   

   mf well articulated



      

   

25

       

 

27

  

  

    

   



    

    

  

            

 

 



  

  

  

  

             



pp

                        

23

      

   

 

         



   

   

          

   

                       

 

    

  

ff

           

    


17

   30        

          



pp

f

   

 

    

 

   

    

  

molto sostenuto q = 112

           

  

35

       

    

p

pp caressingly

    

5

39

  

    

               



   

    

  

  

        

 



a tempo q = 152

37

  pp

p

   

f

pp



              

     

        

   

                       



  

 

      

  

 

    

 


18

41

  

 





 

        

44

  





   

   

f



            

   

   

 

               

 

 

       

       

    

                                                  

ff

  

46

 

f

      

                                        

  

48



   



 

    

                                          

  

50

   

        

p

      



 

pp

     

october 2000 tokyo rev august 2009 shelter island ny


19


20

can we have a tango please, mr. ogawa?

for hattie

 

presto

    f

       

 

        

sf

 

       

9

     

sf

 

5

     

     

  ten.      

always slowing down

     

 

     

slow and sultry - rubato

    

p

    

 rall. 

 

 

mf

                           

     

      

rallentando molto

   ten.    

© julian grant 2009 all rights reserved

          mf legatissimo

             


21

            

rall.

12

 

14

 fast, withabandon   

     

 

 

16

q = 152

     

 

             

 

        

   

          

 

 

 

             

       

                        

19

   



f

  

ten.

p

            R.H

      ten.

  

  

  



  

 

 

   p



  

      sfz


22

     

23

27

 



    

p

 



  

p

  

sfz

 

 presto - as at beginning 

      

  

sfz

  

  

f

sfz

       

 

                                             p     molto stacc.

               

mf

          loco

          

35



  ten.      

f sempre

31

suddenly slow

       sf

 

     

        

 

 

slower, but still fast

      sf  f         

    

  

     

    

       sf      

 

                   


23

39

   

            

     

      

    

                      

   

  

43

  

  

     

   



p

 

   

     

a little faster           



         

 

   

    

        



 



         



46

   

pp sec

  

   

   

 

     

      ppp



october 2001 tokyo


24

congenial

 with lazy motion  

 

q = 76

p

  

for bernard phillips

3

3

3

3

sim. sempre

   

3

 

     

p silky

 

  

  

3

  

  

     

11

    



  

© julian grant 2009 all rights reserved

 



    

 



3

           

     

                      

               

   

14

   

  

3

     

   

 

   

  

                      

  

    

    

8

 

                           

5





 

  

       


25

       

16

   

 

tenuto

 

  

     

     

   

    

3

    

 

  

 

     

 

 

   

  

q = 66

3

        

    

3 3                     

  

          

  

  a little slower 

25

3

  

  

3

     

      

              

 

  

      

23

3

    

 

3

 a tempo  

  

    

piu p

          

20



  

18

      

  poco sostenuto

3

  



 

      p insouciant

     

 august 2000 tokyo


26

dancing for daddies for hattie and tillie

 lazy, calm, but with poise  

          

p

    

  

  

      

7

 

                

       



4

q. = 48



      

         

   

                  sim.

  



    

   

   

          

swagger the melody!

                 

© julian grant 2009 all rights reserved



mp heavy

             

   


27

    

12

 

   

       

  

                       

  5    5               

16

 

     

p

   



           



    

                     

      

     

          

        

     

   

     

    



    

 

       

         





   23     

   

 

     

20

 



    

        

 

        june 2000 hong kong


28

the death throes of oleg the wise for dawn chambers

  f

4

  

q = 72

  



and hypnotic very slow     

 

ppp

[let the sound die away to nothing]

 

q = 48

     

 

 

 

    

[tremolo freely]

pp

 

  

     

8

      



 

  fff mf

p



 

long

 

 

 

   

 

    

© julian grant 2009 all rights reserved

  

  faster

    

 

 

   

 

q = 84

  p

    

   

 

  

  


10

 

12

29

  

  

        

 very slow   pp

   

 

19

 

 

 

     

  

 

   

   

   ppp

        





    

  

mf

            

 

 

 

    

 

  

   

 

 faster

 

    

 

 

  

 

 

    

   

   

sf

q = 84

p

 

          



     

 

             

 

    

  

p

  

q = 48

   

16

 



ppp

 

    

 

     ppp

     

june 2003 london


30

diminishing returns

  



for jonathan dove

allegro q = 132

                p molto ritmico

                                       

5

       

9

 

16

  



 

 



 

 





 

 

 





 

                                         

   mf

  

 

                                                                        

20

© julian grant 2009 all rights reserved


31

         

24

 

29

        

      

 

   

          



f

 



 

 

 

   

L.H



   

                        

                

32

     

  

   

 



               



                                     

36

 

ff

 

mf

                       


32

                                          

           

   

40

f

p

              

44

 

48

  



51

  



 

  

            f

  

        p

 

  

 



 

 

 

 

 

 

       

                  

 

 

   

 

       

     

 

 

                            


 

 

53

 

33

  

                        

  

         

 

      

   

  



 

65

  



 

   

 

 

 

 

        

  

     

 

  

    

mf

   

 

        





 

p

    

 

 

 

 

    

      

 

pp

                pp 

        

 



  

p

 

    

  



      

59

           f



55

 

       

          

 

 


34

69

  



 

72

  



 

 

   

        f

   

  

         

   

   

  

                

  

     

 

     

                    mf

      

   

                             

75

     

  

L.H





                                   f              

78

                             

81

     

 

               

 

    



     

 


85

  



 



                            

             

88

    

                          

               

  



 

 

     

       

    

pp

       

  

 





      



    

  

97

  

                    

  



95

                      

ff

 

35







  august 2000 tokyo

 


36

  

  

           

 

   tenuto      

           p

  

  

 

 ten.       

 

                                  

 

 

  



  

with rhythm

            

poco accelerando

    

                 

 

   





7

 



7

  

   



5

a piacere

 

    

 

p molto legato



3

freely q. = 56

for david parry



distant troubadour

p

© julian grant 2009 all rights reserved

  

 a little faster,  with defined pulse

q. = 68

 p

  



       

 


  

9

         



  



LH

     







    

  

  

    

  









   

 

  p

              

   



  

     





    

17

p

mf

  



    





mf

    

  

  



    

             p legato





         



  

p

     

 

    



       LH



pp

        

15

 

            



        

      

   

12





 

 

  

p

LH

  

   





37

              


38

  

19

mf

  



 



  



     

 

25



 

  



            







 

    



  

 

 



 



             

    

    4

           

   



   

 



 

 

  

p

 

 

 

23







    

21

 

 



 



  

 

f

LH   f

 

en dehors





 

 



 



  


     

26

    

  

     



  

      

             



p

 

   p

  

  

 

  

   

    

  

lunga

 

ppp        

      

free, halting, as at beginning

p legato

lunga

 

lunga

 

ppp

 

   

 

  

 



  



39

p

  

34







  



 

         

32

     



 

    

   

      

LH

 

  

poco stringendo

28

      

 

subito presto rallentando

      

 

 

    3

pp 3

   

august 2000 tokyo rev august 2009 beijing


40

doodlesack

 fast and bright  

  

for tillie

                  p

                  

sempre p

                           p marcato                    

5

  

8

 

                     

   R.H     

 

 

       p

       

mf

                    p marcato                    

11

© julian grant 2009 all rights reserved


41

          

14

 

   

                     

  R.H       

 



                       

p

mf marcato

    

      

   

 

        R.H

                         

  p

              

    

    

 

26

 

f

24

          

                      

21

 



mf

17

 

 

 

   

february 2001 tokyo


42

for yehuda shapiro

languid, wilting q = 52

   

          

   





    



the ecstasy quotient

  

                 sim: chords always arpeggiated

             

                       

                   

                                                            

                                   © julian grant 2009 all rights reserved

  

                               

                                            

          

                                 

                                     

september 2001 tokyo


43

fifth year fandango - new year 1992

 

for peter

  

 

 

8

  

3

3

    

                  



 

11

    

                   

 

       

     

loudly

4

  

fandangissimo

  

    

    

     

    

           

© julian grant 2009 all rights reserved

     

 

   

                  

              

             

 

       

   

       

    3

   

     

   

 

repeat ad nauseam until all the guests leave



      3

  



    

january 1992 london


44

gakugei-daigaku: full moon with mist for christine houston

  



fast and fleet

 

6

 

f hard

   





    

    

    

   

 

    

             

mf

 

  

                  

16

   

 

© julian grant 2009 all rights reserved

 

 

 

     f

 ���

 

   

  p

 

 

 

11

 

 

 

  

p

 

    

  

    


45

   

 

20

 

    

     

24

  

 

29

   

         

 



      

   

      

 



p

               

 



 

 

 

mf

    

    

34

 

f

     



       



   

3

  

pp

 

  

  

mf bright

  

    

 

p



 september 2000 tokyo


46

5

 allegro vivace  p

      

 

8

  



 

for alison klayman

     

h = 88

 

heroines of the torah

    

 



 f

 

     

    

     

 

 

  

mf

 



 







   

   

   

          

  



p







mf





    



   

  











                                                                   16                     12

3









© julian grant 2009 all rights reserved









ff



  



      

 

     





       

 





 


47

                                    

    

20

mf

 

24

 















            

f











   

 

   

             



               28                   

31

 

  

ff

                    

f

          

       

 

 

 

    

   



  

 

 

 

    

          

            



        

                          

     

34

 

     



  

                         

 mf       

           

 

    

   f



   

  


48

37

 

   

      

 

 

  

                                 40                          meno f

 





     

 

                

45

 

    

pp

p jaunty

 

      

pp



  

          





  

                                 6 5 p p brilliante           

49

51



 

                                     



6



6

 

6




53

49

                   5

5

   

56

6

     

 

  

pp

61

      

       

70

 

          





 



ppp very delicate

 





 

   



  

   

  

    

                               

 



pp

      mf   hold back h = 72        pp

6

  

pp mysterious and playful

      3

3

piu p

     

               sfz

 

    

   

    

3

        

65

 

 

   

 

 

 

 

  



 



 

 

  



  

         

 



  



  

 



  

 





 


50

73



  

   

 



 





 

77

 

 







 

 

 











 







                          

81

  

   





 

84

   

    

 88        

p

  

very rhythmic

  

f

 

 

   

 

mf



accel.

 

 

   





 



  





 



3

 

  

  

   

 p







 f

       

                   fff p ff                    

           

              



 

    

       

f



3

       

pp

 

 

tempo primo h = 88

 

 

 


51

  

91

  

 

   





fff

     

   

 

  

   

    

 

f

      

f solemn

    

 

         

  

 much slower h = 56 93          

99







 

 



 



 

 

 



p

 

  

tempo 1 h = 88

sempre pp leggiero

 



  

pp



               6  6

6

6

 3        lunga         6                       5 6     

102

april 2009 beijing


52

june 21 08 r.i.p. rimsky for derek bourgeois

h = 42

                         ppp murmurando

 

                      

 arpeggiando moltissimo lento

 



              

     

             

                                                   sempre ppp

 

                      



                             

                          

© julian grant 2009 all rights reserved

    sim.

      

pp distinct, as if in the distance

       




53

  

 

 

 

 



 

 



 

    

 

 

 

   

    

sim.





          

            

pp molto espressivo

faster

    

  



 

       

f

lentissimo

p brightly

         





               

p

mf marziale

mf

                                



f



         

         fff

   

 

 

       ff

               meno f


54

              solemn - regular

                     

          

   

 

 

       p

  

     

pp

     p

    

       

 

          

                en dehors 

 

 

poco p

declamatory

 

     

mf cheeky

 

 

p

    

  

     

                           pp

  

 











  



                                     

sempre pp

  










55

 

   

 



arpegg.

 

  

 

  

 

 

 

  

  

 

 

 

 

 

  

    

 mf

 

   



 

   

 

       

ppp

  

ppp

 



 

p

 

 









moltissimo lento e = 48

 

  



p smooth

 

        

                    



p

 

 

becoming indistinct



pp

 

 









             

 

p crystalline

 



 

            

  

  

  

 

 

june 2008 shelter island ny rev august 2009 beijing


56

a letter to the other side

in memory of all the formidable ladies

  



   p

 

     

 

adagio - non troppo h = 48

5

    

 

4

  

 

 

 

        

    mf

   

melody en dehors

6





    

  

   

  

mf

       

 

© julian grant 2009 all rights reserved

  

  

  

p

 



  

 p

          

  

          

8

 



    6

           

          


57

         

10

f

          

  

5

      

          

12

mf

  

     



  

              

   

   



15

 

17

 



 

  

mf

         

   

sub. p

    

 



 p               

     

    pp

 

  

august 2000 tokyo rev july 2009 shelter island ny


58

.....mach tzu sein aigele for rhoda levine

rapt - still q = 40

left hand only

         

         

p

from silence

          

   

                           mp weeping

ppp sotto voce

 

  

           mp

     

ppp

   

  

  

      ppp

p



p heavy

sempre ppp

             

© julian grant 2009 all rights reserved

   



 

  

p very smooth and regular

 

  

  


59

  

   



  

 

     

 



p slightly more urgent

                  

        

 

 

 

ppp sempre

 

                 p

          pp

a niente

october 1999 hong kong


60

mock-moon

for linden andrew

h = 56

5

    

   

   

            

  

 

  

         

      © julian grant 2009 all rights reserved

    

  

     

 

 

pp growing

ppp shining

8

 flowing, free   

     

      

   

 



 

    

      

 

 

       

      

   

 


61

11

 

       

     

   

 

20

 

      

  

 

   

 

       

      

mf

    

    

   

   

 

           

    

  

     

     

    

       

p

17

             

p

14

 

                                   

 

 

                   

 

      

   

 


62

22

                  

24

       

 



  

      

      

 

 

 

         



 

 

   

      

   

 

 

 

 



 

    

  

 

 

 

 

 

 

 

    





    

 

 



  

   

       

piu f

 

sf

 

     

 

    



   

 

      



 



  

 

f

28

 

                       

            

26

 

  pp

february 2001 tokyo


63

moonshine

 

5

  

for our twin cousins, alice and james quall

                              p simple and smooth

  

    

      

12

                 

p smooth - balance hands perfectly

 

    

                    

             

   

9

     

andante q = 76

 

   

   

            © julian grant 2009 all rights reserved

  

     

         

   



  

    

         mf

  

 

  



   



      






64



 







 

       

Tempo 1. q = 76

   

  

p clearly

 



 



     

 

 

 



  

 

    

   

  

  

3

       

       

 

  

 



   





     

      

  

 







     

       

LH.



  

p clearly

 

 

  



    

  

   



   

  

24

 

 



pp sonorous

 

 



20

  



  

  

   



arpeggiate slowly



  

    



p espressive

  



  

q = 60



A little slower - free



15

   


65

          

loco       

27



31

  

 

  

    

   

                             

mf

sub.p

            

   

   

                

   

       

    

   

   

  

     

    

     



      

 

poco rallentando

          





  

39

   

         a niente



35

 

pp



 





   

loco               

  

december 1994 london rev July 2009 shelter island ny


66

my secret mongolia

  



 

 

p smooth, dogged, imperturbable

 

            

 

 

 

15

  



 

 

     

  

   sempre p   ���        

 

     sim.

 

          

  



 

       



   

   



 

 

 

   

 

 

 



   

 

 

                                  sim.

  

sim.

  

20

 



  

    

          

6

11

 

q = 72

for judith weir

  

     

 

    

    

© julian grant 2009 all rights reserved

  



 



    



 

      

 

      

    


67

          

       

25

 



 

                          

 

30

 

 

 

   

35

 

  

 

        

   

 

          

      

  

   

   

      

 

always smooth

40

45

sim.

   

     

 

    

           

     

 

 



 

    

    

 

 

     

  

 

 

      

 

  

     

 

           

  p

              



  

                          

    

november 1999 hanoi rev april 2009 beijing


68

ninety - love: your serve for fran leibowitz on her birthday

 

 

      

frisky- loquacious q = 132

       f           

6

 

     

11

 

     

17

 

 

     

 

 

      



      

 

 

      © julian grant 2009 all rights reserved

 

   

    



     

       

   

       

    

     

 

 

     

       

 

       

           

© JULIAN GRANT 2004. All rights reserved.

 

piu f

    


69

                                  

21

brilliantly

     

25

 

  

 



 

 

    

29

3

  

32

  

35

 

 



 





     

  f

 



3





   

 

 

   

 

3

        

 

 

 

 

  

 

 

    

            glissando

 

  

3

       

        



          

  a tempo



3

 

3

3





 poco a poco ritenuto      





 

   



  

 

p

 



10

   

    

march 2004 london


70

notte di maschere for henrietta bredin

 

 

 

 

 

 

   

 

 

  

 

  

© julian grant 2009 all rights reserved

3



 

 

 loco

   





  3

 

  

  

  

  

  

3



   

      

 



 

 

pp shadowy

   

       



      

    



15



        

 

 

loco    

pp possibile

6

12

        

presto, fantastic, shadowy q. = 76

 

 



 pp legato sempre

           


71

19

 

marcato il melodia [la be - fa - na vien di not - te

       



con



le

  

4 4                                  

22

scar - pe tut - te rot - te

      

con la

     

cuf - fie all' ro ma - na  

  



                      



25



           

4

4

vi - va,

vi

  

-

4

va

  



4                   4



28

la



be - fa - na!]

   

                   

                        

4

31

                               

p

f





      5

pp

2

5

3

1

          3

sempre legato, murmurando

2

1

2


72

34

  

     

    



36

 



 

   

    



  

  



 





pp possibile

 

    



loco

  

42



     

  

                          

    

 



                        

 

 

      

sub. fff

                       

39

 

 



pp



  

 

  

 


45

  

49

 

 

  

3

 



  3

  

53

  



 

3





    



 

       

 





     

    

p

  



  













pp marcato, molto ritmico

pp legato

      







                          

56

 

  

 

  3

 

73





[boo!!!]

                                      april 2001 tokyo  pp stacc.

f R.H


74

oblomov

 slow - dragging  

for simon lebens

q = 42



p               

 

 

3

 

        3

     

 

sempre legato





             

 

 

 

9

  

  



  

 

 

 

 

     

 

          p

    

     3             

 

pp

    

6

     

 

 

pp

     

 

    

6 3                                     

p

             

        

crescendo

 

 

   6      6       6      3      

11

   





© julian grant 2009 all rights reserved





 


75

                          

12

    

  







      3



 

 



                                      

 

   

13

14

  

  

3



3    



3 3         

3

pp plaintive

 





                    6

16

     

19



 tempo 1  

  

p heavy



         

 

3

  

     

   

      

q = 66

   

p

 

 

 piu mosso    

   

3            

  



    

 

        

pp



 loco               

accelerando - a piacere

q = 42

mf

mf

 

pp crystalline

november 1999 hong kong rev september 2008 beijing


76

on finding, unexpectedly, gustav holst's gravestone in chichester cathedral

5

 

 

 

9

 

13

   

for john and fiona york

  

 

p very smooth

    





  

 



 

 

          

 

   

 

 

 

 

           

      

    

 

              

 

  

   

h. = 48



 

 

  

 

  

   

    

         

      

   

                                                 

17

© julian grant 2009 all rights reserved


77

  

20

  



     

      





    

              

25

      

29

       

  

 

      

36

 

 

        

      

     

 

 

cresc.

                 

          

33

 

 



   

           

        

                    

  

                 

                  

                          

                            

ppp

   march 2004 london


78

on hearing an aria by handel

for nancy diuguid, now in memoriam

 grave - with much freedom   



  

sempre p

        

  

     



cantabile

       

       

10

     

 

                





 

© julian grant 2009 all rights reserved

  

  

           

       

 





                   

       sim.

      

     

5

 

   

        

 

 

q = 42

       

  



 

   

    


79

 14     

ad. lib.

 



   

  

17

   

     

  

 

p

          

                        

               

  

24

  



 

 

 



 

   

   

  

                 



p delicate

 

               

             

          

 

  

 

pp

  

21

 

a tempo

 

  

    

    

  

october 2000 tokyo


80

on the ferry from oban for alastair campbell

 allegro   

q = 120

  

  

             

        

 

  

17

  

  12        

  

pp

  

6

     

  

 

 

   

 



               

       mf

  

 

     

     



     

            

 

© julian grant 2009 all rights reserved



  

  

    

mf

bell-like

          

          

   

    

 

 

     

 


81

    

22

  

    

sf

                     

27

   

    

    

32

  

  



     

  

p sonorous and legato

  

 

 

 

        





f

         

              

 

  

               

39

 

                

     

 

 

         

 

ff

 

 

 

 sub. p

               p  

          

         

    


82

       

   

            

       

44

   

 

    

  

 

49

  

53

  

     

 

  

   

     

  

 



p

 

    

 

      

   

   

 

     

 

      

 

     

   

     

  

     

  



   

                          

58

                         

 62          

         

  

pp

   

 

 







november 1999 hong kong


83

on the ferry to oban - with squall

 

Allegro q = 120

     p

6

for richard haigh and michael day

       

  

 

     

  12  

     

  

18

  

       



  p pure



 

  

f

 



     

           

    

  

         

© julian grant 2009 all rights reserved

      

    

      

          

  

 

 

   

    



ff

 

      

    

 

   



      

   

 

 

     

 


84

         

23

    

              

 

    

     

      

    

  

 



  

    

28

33

 

  

     

                 

   

              

 

 pp

       







              mf           

   

                

   

   

39

p

  

   

 

                                  

         

43

  


85

       

                             

46

                      

50

        

53

          

           

    

        

 

 

                           f

            

   

  

                                  56                                 sub. mf 6 6                                  58                               6 6 6                                     

sim.


86

   

61

   

  

  



  6                          

      

6

    



    

 

      marcato

  6               

   

   

      

  

3

6

      

    

       

3

  

  p

   

                    p

    

  

6

 

    

 

   

 

  

mf

ff

  

75

6

          f    6 6                            

   

67

70

            

6

64

  



   

 

 

 


 



  85       

  

  

6

pp

92

  

6

pp

     

   

     

     

3

 

  

 

 

6

 



  

    

 

 

 

pp

   

3

 

 

p

 

  

      



 

89

 

p

f

   

   

loco



 

     



  

80

  

87

 

      sfz        

november 1999 hong kong rev april 2009 beijing


88

 

prelude......to greater things

 

for betty kormanic

q = 72

 

 

        

p

 

       

     

  

   

    

    

 

 mf

p

f

  

mf

   

© julian grant 2009 all rights reserved

 

     

   

f

     

 

  

  

 

 

  

   

 

mf

      

f

     

sim.

  

 

 

  

f

   

mf

   

 

  

    

  p

      

  

  

mf

      

  

f

     

  

   

f

     

 

 



    

f

 



   

10

  

 

  

 

 



  

 

 



f

6

3

f

    sec.       

   




 

  

                      

  

   

     

 24   





   

    

  

 

 

      

 

  

    

 

3                            

3

20

          sec.

 

f



        

 

 

     

16

   

 

 

 

   

  

   

  

  

   

  

 

   

 p

  

 

    

 

         

 

  

 

   

 

 



   

13



89

   

f

 

 

   

 

  

   

 

   

      

  

  

 

  

 

 

    

 

 


90

27

   

  

29

  

 R.H    

 

32

      L.H

 

 R.H    

 

  

      L.H

 

pp

R.H

  

 

      

  

36

R.H



 

  

    

 

L.H

   

    

  

       L.H

        

  

               

 

R.H

 

 

 

L.H

 3    

pp

f

R.H

  

 

 

 

   

 

L.H

 

 

 

 

 

     

  

    

   

     

 



 

    

               

     

     



3

 

         


91

                

39

      

   

 42         3

    

         

3

3

3

   

  

 R.H                  

 

p

  

  

              R.H



          3

ff 3

           

f

3

piu f f

                 

 

 

3

44

           

               

      

   

p

  

  

 

fff

        

  



november 1999 hong kong


92

reminiscence of 'abesalom and eteri'

from the opera by zakhary paliashvili for grace andreacchi

p marcato il melodia

  

andante q = 84

    

p

     

     pp

 

  

  

 

 

     

           

3

a halo of pedal throughout

       

 

3

3

3

    

    

              

     

 

 

p

   



3

3

   3

          

 

 

 

© julian grant 2009 all rights reserved

 

               pp                    

  

     

3

          

6

    

 

3

4

     

                   p

   



mp

  

 




93

     

8

   

 

 

 

p





 









                      3

 

    

 

 

   

  

9

10

   

11

  

     



3



   

pp



  







 



 

  



3









3

     

    

        

3





   

3

mp

           

12



3

  

     

 



3





 

    

           





3

  

  



 

3

        

 

 

3

  

  3





          en dehors        


94

      

 

14

  

en dehors

p

                 

           

      

16

   



     

   

  



   

   

molto legato, sonorous





3

  

3

  



         

  







p

     

mf

    

3

     

18

pp

ppp

17

     3

3

   

               





  

 3

       







 

              3

   

 

 

3

           


95

 19         

f

 

 

     



     

 

     

 

ff

        

      

3

3

          3

 

   

3

21

3

  

3

  

   

                         

3

3

     

23

3



      

3

     

 

24

3

3



  

3

               3



                   5    mf

20

5

                 

 

3

3

3

3

  

    

3

  

  

3

 

ppp



    3

april 1990 london rev october 2000 tokyo


96

rush-hour chorale for michelle yip

volatile, with motion h = 66

 

     

   



 

    

p

      

    

  

 

   

   

 

       

 

      

p

     

     

p

              

© julian grant 2009 all rights reserved

 

   

f

        mf

      

 

   

mf

p

    

  

p

  

     

          

     pp

       

          p

          

  

  

  


 

pp

  

   

  f

          

  

            

           

              

f

  

         



ff

          

                   

 

  

 

  

   

            

  f heavy

   

 

 

ff

f

mf

         

 

 

  

   

              

ff

  

       ff

97

        

 

      

  

           ff f                          

   

   

   

   

    

  

    

  

    



  

 

 


98

           meno f smoother

 ���             

  

 

  

 



           

 

mf



 

 

pp sombre

 

              

    p     

          

        p

  



         





          





   







      

  

 

 

 

 

   

    

a niente

 



 



 



 



 

february 2001 tokyo rev april 2009 beijing


99

there are no heroes any more

  

 gravely 

 

   

        

  

   

10

 

           

 

     

  

 

  

© julian grant 2009 all rights reserved

 

 

   

   

             

  

                            

          

 

7

  

   sim.

4

  

         

h = 48

p

  

for judith sharp

         

 



  

 

      


100

        

   

13

  

 

        

 p implacable

             

            

3

16

   

                                                        

  

      

18

   

  

20

  

   

    

    

 

     

   

 

           

 

         

22

      

          

  

    



  

    

 

 



        

            

 





                        

         

 

      


  

24

 3       

   

101

          

        

 

 

26

   

 

   

  

28

   

      

     



   

 

 



 

     

 

 

    

 

       

           

 

 

        

    



    

   

          

     

          

 



32

  





          

30

      

  

   

 

   

 january 1997 hong kong rev april 2001 tokyo


102

voice locked in

for qu quan yue

very free - molto rubato q = 52

    

p

 

       

        pp        

  

    

tenuto



  

 

         

3

pp

   

          3

p

  

    

mf

                     © julian grant 2009 all rights reserved

     

     

          

 





      3        

pp

     

5


103

     p

       

 

 

3

        p

    



 

    

     3

 

  

 

 

3

   mp pp       

 

 

 ppp

 

                            3







  

3

 

5

        mp        

    

   pp    

            

 

5

   mf

ppp

 

  

  

april 2000 hong kong rev august 2009 beijing


104

waltz with antimacassar (kiss me.....again?) paraphrase from victor herbert

in memoriam marcy reinstein

  lilting (in 1)

getting faster

          

 

 

13

  

 in tempo 

    

18

 

 

 

in tempo

   

8

 

    

   

 

 

    

         

© julian grant 2009 all rights reserved

 

 









 in tempo           

   

 





           

 with nuance 



4

 

  

   

slower and sustained

getting a little slower

          

pp

 

         

broadly

ten.

       p

  

getting slower

  

much slower

  4      

  

4

    



in tempo



 


105

            

22

       

27





 getting faster        

        

32

p

   

37

 

 

slow and broad - ad lib.  

  f



 

pp

 



 



 f

  

  



  

  





 

  

 

  

  

   



mf sonorous

    

glissando

pp

suddenly broader

slower  getting a little         

 



          mf  

   

p

     

   

p espress.

     

mf

 

   

 in tempo        

   



       a tempo

 rapt and slow 

 

   

  



     f

pp

   

  




106

38

 

    f

 



                      

                      ppp gossamer

39

    

f

f

 

 



           



      

   

poco crescendo

    

   

    

always faster

    

    

                    p

5

45

50

getting faster gradually

under speed but in tempo

 





                      

   

sim.

       



as fast as possible with abandon



      

        

    

       

 

              mf crescendo

              

      crochets marcato

     

    


107



loco                        

55

fff

    

59

     

      

slowing up

        

63





always slowing











  

p

  







       







    

 

    

       

slowing up to the end

67

   





 



in tempo



p





 

 

 

           

mf sempre diminuendo

 

     

    

     

       

    

      ppp

 

march 2000 hong kong rev april 2009 beijing


108

white wings unfurl in memory of kath powell

 

 lilting, not too slow   

q = 84

pp

   



  



    

               

12

 

 



p



  

      

sim.



           

    

                         

     

      

p

    

 

    

mf

17

      

    

                       

7



                                 

© julian grant 2009 all rights reserved


109

foreground melody ditto                                      

21



 

 





 

    

31



          

36



 





 

crescendo poco a poco

 





 

 



                                

 





mf

 



 

                         

          

26



   f

 

 



                                          



piu f



 


110

              

41



46

 



       

p



       





50

 



             



mf

  

 

  

 

 

 

   

 



molto legato

   

54

                 

    

a tempo

poco rall

   

   

 

 

 

  

         

   

        



p



 

 

         



 

    

   



  pp murmuring

   





                                     

57

   



 

 



 

 



 


60

111

  

mf

 

  

  

   

   

63

        

     

       

    

L.H

   

 

 

 

           

  

    

 

     

 



  

 

  

 



R.H

 

   

                       

slower

rall

     p



    

     

66

70

 

        

 

   

 

   

february 1997 hong kong


112


shivereens

concordance

shivereen – noun - shard, fragment (colloquial scottish) can we have a tango please mr ogawa? mr ogawa was our driver in tokyo who was also a champion ballroom dancer he would drive hattie to school playing dance music and at the age of four she would ask the above question the death throes of oleg the wise oleg of novgorod was a varangian (viking) ruler who ruled over some or all of rus (russia) in the early tenth century it was prophesied that his stallion would be the cause of his death so the horse was sent away years later he visited the spot where the stallion’s bones lay and touched the horse’s skull with his foot a snake slithered from the skull and bit him, causing his death the legend was later romanticized in verse by alexander pushkin (1799-1837) doodlesack bagpipes (colloquial scottish, or derived from german ‘dudlesack’) gakugei-daigaku - full moon with mist neighbourhood in tokyo, a university district, on toyoko line en route to yokohama june 21 08 r.i.p rimsky the precise date of russian composer nikolai rimsky-korsakov’s (1844-1908) death allusions are made to the legend of the invisible city of kitezh (1907), the rose and the nightingale (1866), mlada (1889), the tale of tsar saltan (1900), the golden cockerel (1909), sadko – opera version (1896), the snow maiden (1881) , the antar symphony (1868), and pesenka (1903)

113


mach tzu sein aigele second line of a yiddish lullaby schlof mein faigele mach tzu sein aigele (sleep my little bird, shut your eyes) mock moon a bright spot in the sky, appearing on either side of the moon, formed by refraction of moonlight through ice crystals high in the earth’s atmosphere official name is paraselene notte di maschere (night of the masks) la befana vien di notte con le scarpe tutte rotte con la cuffia all’romana viva! viva! la befana (la befana comes at night with red slippers wearing sleeves in roman style) a traditional roman rhyme about the festival of epiphany: in legend la befana was a hideously ugly crone (some say a washerwoman or a witch) who ignored the progress of the three kings bearing gifts to the christ-child, and was reputedly condemned by god to follow them fruitlessly throughout eternity at the festival of epifania she brings sacks of gifts for good children and ashes for bad the melody used is original and also features in my children’s concert opera la befana (2002) oblomov anti-hero of eponymous novel (1859) by ivan goncharov (1812-91) who became a byword for well-intentioned inertia and sloth

114


oban a scottish port known as the ‘gateway to the western isles’ oban is gaelic for ‘little bay’ abesalom and eteri the first georgian national opera (1919) by zakhary paliashvili (1871-1933) based on the ancient georgian verse-epic eteriani originating in the 10th-11th centuries the story is akin to cinderella but ends badly this is a recomposing of a wedding chorus in act 4 waltz with antimacassar (kiss me …..again?) an antimacassar is a piece of cloth put over the back of a chair to prevent wear or dirt, prevalent in the nineteenth century kiss me again is a song from an operetta mam’zelle modiste (1905) by victor herbert (1859-1924)

115


Julian Grant is active as a composer, writer, educator, music journalist and broadcaster. Works include sixteen operas of various lengths and sizes which have been performed by English National Opera, The Royal Opera Covent Garden, Almeida Opera, Mecklenburgh Opera and Tête à Tête Productions. He is the recipient of the National Opera Association of America’s New Opera Prize, as well as a prestigious Olivier Award nomination. From 2002-7 he served as Director of Music at St. Paul’s Girls’ School, London, a post previously occupied by the composers Gustav Holst and Ralph Vaughan-Williams. He has taught at Hong Kong University, hosted a radio show for RTHK, and engaged in extensive education work for London’s major opera houses. He writes extensively on opera, Russian music, and contemporary classical music for a variety of music journals including Opera Magazine. Recent premieres include Double Trouble, for Melvyn Tan at the Wigmore Hall, and two operas for Tête à Tête : Anger and Odysseus Unwound. The latter involved traditional knitters, spinners and weavers from the Shetland Islands in a re-telling of the ancient myth, and was featured on BBC2's The Culture Show. Grant currently divides his time between London and Beijing, where he is attempting to learn the Yang Qin (butterfly harp). Further information can be found at www.juliangrant.net


MORE FROM ANDROMACHE MUSIC JULIAN GRANT, COLLECTED SONGS, 1979 – 2008 a rich and varied collection of songs in the contemporary classical idiom. ISBN-13: 978-1409280057

available from andromachebooks.co.uk to order worldwide from amazon.com and amazon.co.uk



SHIVEREENS