George Benjamin
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George Benjamin


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1.
George Benjamin: Viola, Viola (Playing Scores)~ Score (Viola)
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For 10 beguiling minutes, the two instruments take turns offering fierce or lyrical outbursts, either individually or in close-knit counterpoint. . .The effect is mesmerizing. . . San Francisco Chronicle (Joshua Kosman), 7 May 1999

2.
George Benjamin: At First Light (Score)~ Score (Orchestra, Chamber Group)
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Benjamin revealed an incredible sense of timbre and a precise technique of instrumentation which is unrivalled among his fellow composers.

3.
George Benjamin: Shadowlines~ Instrumental Work (Piano)
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Shadowlines is a set of six canonic preludes for Piano by George Benjamin. The work was concieved as a continous cumulative structure and is approximately 15 minutes in duration.

4.
George Benjamin: Ringed By The Flat Horizon (Score)~ Score (Orchestra)
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Full Score for Orchestra of George Benjamin's stunning Ringed By The Flat Horizon. The work contains some of the most startlingly precise storm music ever written.

5.
George Benjamin: Viola, Viola (Study Score)~ Instrumental Work (Viola)
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The Study Score for George Benjamin's Viola, Viola ". . .a virtuoso tour de force. . .a visceral dialectic, powered by nervous energy."
The Times (Helen Wallace), 21 October 1998

6.
George Benjamin: A Mind Of Winter~ Score (Orchestra, Soprano)
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". . .a beautifully wrought soundscape of crystalline bleakness out of which a soprano voice emerges. Its continuation delights by its unfailing inventiveness." The Independent (David Wright), 20 March 1990

7.
George Benjamin: Three Inventions (Score)~ Score (Score)
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The first performance of Three Inventions was given by Ensemble Modern conducted by the composer at the Salzberg Mozarteum, as part of the Salzberg festival on 27th July 1995.

8.
George Benjamin: Flight~ Instrumental Work (Flute)
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The first performance of Flight was given by David Lodeon on Radio France in March 1980. The work is for Solo Flute and is approximately 8 minutes in duration.

9.
George Benjamin: Three Miniatures~ Instrumental Work (Violin)
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Three Miniatures by George Benjamin for Violin solo.

10.
George Benjamin: Upon Silence (Voice And Strings)~ Vocal Work (String Ensemble, Mezzo-Soprano)
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Upon Silence sets Long-legged Fly, a late poem of Yeats which portrays three momentous figures in history absorbed in silent contemplation.

11.
Sometime Voices (Score)~ Not Specified (Score)
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"An atmospheric and subtly orchestrated piece, it compels attention from the opening wisps of sound on xylophone and mandolin, threading its way through forceful baritone phrases (William Dazeley, excellent) and Daphnis-like choral spirits into a perfectly-paced crescendo before dying away in a trance." Financial Times (Andrew Clark), 16 September 1996

12.
George Benjamin: Piano Sonata~ Instrumental Work (Piano)
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For Piano Solo.

13.
George Benjamin: Antara (Score)~ Score (Flute, Keyboard, String Ensemble)
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An Antara is a Peruvian panpipe. Benjamin's 1987 work synthesizes its sound via computer and adds trombones, flutes, percussion and strings for a 20-minute essay that dazzles.

14.
George Benjamin: Sudden Time (Score)~ Score (Orchestra)
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Full Score for George Benjamin's Sudden Time for Large Orchestra.

15.
George Benjamin: Sonata For Violin And Piano~ Score and Parts (Piano Accompaniment, Violin)
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16.
George Benjamin: Meditation And Relativity Rag (Piano)~ Instrumental Album (Piano)
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17.
Upon Silence (Voice And Viols)~ Not Specified (Voice)
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Annette Morreau writes 'This is a remarkable work, a setting of Yeats’ Long-Legged Fly, where Benjamin has found a newly expressive sound world - rasping colours in rich dissonant chords, pizzicato and tremolo effects'.

18.
George Benjamin: Sortileges~ Instrumental Work (Piano)
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Sortileges was written for Paul Crossley to a commission for Northern Arts with funds provided by the Arts Council of Great Britain.

19.
George Benjamin: Jubilation (Score)~ Score (Score)
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The Full Score of George Benjamin's Jubilation for Orchestra and mixed children's groups.

20.
Fantasy On Iambic Rhythm (Piano)~ Not Specified
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". . .were not just impressive: they seemed to enter the repertoire before one's very ears." The Sunday Times (Paul Driver), 9 February 1986


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