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Fifty scores celebrate Jon’s 74th birthday

June 9, 2015

JL Hagen conducting

In celebration of what would have been Jon Lord’s 74th birthday, there are now around 50 scores of his works available via JonLord.org.  See the complete list.

Heading the line-up is the newly revised full score of Durham Concerto, one of Jon’s finest orchestral achievements. This new edition incorporates all of the many alterations made by the composer since the premiere in 2007, and was first performed last month in Hagen, Germany.

Celebrating the performance, we are now offering the Durham Concerto score at a reduced price.

Also newly available in full score is a genuine Jon Lord rarity. Fanfares and Variations on “La chanson de Pierson” is a short piece for large brass ensemble, which Jon wrote for the Jersey Liberation Music Festival in 2010. It has never been recorded or performed since its premiere.

Jon's handwritten cover page to The Gemini Suite.

Jon’s handwritten cover page to The Gemini Suite.

Conductor Paul Mann continues his work on Jon’s published legacy and forthcoming plans include the first ever publication of songs November Calls, The Sun Will Shine Again (originally sung by Frida), and Before I Forget.

Also in the works is the first-ever appearance in print of the Gemini Suite from 1971, which was recently discovered among Jon’s archived materials. Click photo to enlarge.

All details, as always, will appear first here on JonLord.org

Purchase print-your-own scores from Jon Lord’s Web Shop

Full list of Jon Lord scores available in print

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2 comments

  1. This is all good news! Will there be a facsimile-pdf of the original Gemini Suite score manuscript? This would be a way to have direct contact with the master’s handwriting. Or only a fully polished and very readable one? I don’t seem to find the Gemini Suite score in the online store yet, but this will probably be resolved in time.

    I must say that the print that I made of the Concerto score, on 160 gramme A3-paper and professionally bound in hard-cover by our local bookbinder, is a big asset to read while the music is playing (and it makes up to a full back-up of this masterpiece for you in case you’ll lose the score. Again. 😉 )

    Arjan


  2. Morning Arjan. I like the idea of your handsomely bound Concerto. Glad to know we have a back-up, although we’ve now probably somewhat reduced its chances of getting lost again.

    I would like very much to make more of Jon’s manuscripts available to view online, and this is something we should speak about with our esteemed webmaster, and of course with Jon’s family who would have to authorise it. There may be technical issues to address with it…but over to Rasmus on that. Jon almost always sketched his music by hand, often carrying a notebook in his pocket on long walks in the Chilterns, so there is a large amount of very valuable and musically revealing manuscript material, much of which I’ve taken into account in creating the new editions. He continued to write things down by hand, especially in the early stages of a piece, even when he moved over to using music notation software in the early 2000s.

    Concerning Gemini, so far I’ve typeset only the first movement – so this will still take some time to complete. There are two major problems with it at present: one is that the manuscripts of the vocal and the drum sections are still missing. A number of possibilities are still being explored – there is still a large amount of unsorted music in his personal archives which I need to go through. Failing that, there may still be a copy in the BBC Music Library. The other problem is that Jon started to re-orchestrate the piece a couple of years before he died. Unfortunately, he got only about fifty bars in before he either lost interest or got taken over by other projects. So I don’t think it’s possible now simply to publish as the definitive version the old text that he wanted to revise. This means that I have to make editorial decisions about how far to go in trying to second-guess what he might have done with the rest of the work based on what he did to the first part of the first movement. This will be a long process, but hopefully will result in a more colourful, more richly orchestrated “Gemini” than first time round.



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