Variations on 'Rule, Brittania!' (Armstrong, Peter McKenzie)

Contents

Performances

Recordings

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Synthesized/MIDI

MP3 file (audio)
Peter M. Armstr... (2015/11/26)

Performer Pages Peter McKenzie Armstrong (Rosegarden & Pianoteq)
Publisher Info. Edition Ottaviano Petrucci
Copyright
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TN-rulebrit.jpg

MID file (audio/video)
Composer (2012/3/7)

Performers MIDI
Publisher Info. Edition Ottaviano Petrucci
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Sheet Music

Scores

PDF typeset by composer
Composer (2012/1/23)

Publisher. Info. Edition Ottaviano Petrucci
Copyright
Misc. Notes Engraved with LilyPond 2.12.3
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General Information

Work Title Variations on 'Rule, Brittania!', for piano solo
Alternative. Title
Composer Armstrong, Peter McKenzie
I-Catalogue NumberI-Cat. No. None [force assignment]
Key A major
Movements/SectionsMov'ts/Sec's 8 sections:
1. Simple
2. Obstreperous
3. Harmonious
4. Finale Theme from Thomas Arne's Masque Alfred (1740), arr. P.A.
5. Topsy-turvy
5.5. Desperate
6. Reflective
7. Right on!
Year/Date of CompositionY/D of Comp. 2007, revised/expanded 2011
First Performance. 2007 — New York, Reality Aside Theatre: (MIDI sequencer output)
Dedication Eve; 2011 revision adds section for Wayne
Average DurationAvg. Duration 6 minutes
Composer Time PeriodComp. Period Modern
Piece Style Modern
Instrumentation Piano solo

Misc. Comments

NOTES

Edition

The Variations were composed in 2007 as a MIDI piano-roll sequencer file only.
The present score is the first for human performance.  Aside from adjustments
to enable two-hand execution, and all indications for tempo / dynamics / articu-
lation / pedaling, it introduces one new variation, #5.5.

Performance

The sustain pedal may be used to provide sympathetic resonance, and to facil-
itate connection within slurs, but not to smooth over otherwise detaching articu-
lations. (See especially in variations #1 and #5.5).

The middle-voice closing of Var. 5 may be played by the soloist (rather than by
the "page turner" as indicated), if he/she can engineer an unobtrusive means
to do so.

Title

I should note that sections #1-3 are conceived less as "variations on" than as
"variations towards".