Thomas Adès

Commissioned by Alexandre Devals and Mimi Durand Kurihara for Kirill Gerstein, this Berceuse for solo piano is a reworking of music from Act III scene iii of Adès’ 2016 opera. In one of the score’s ma...

Az ág (The Branch), composed by Thomas Adès, for Víkingur Ólafsson. Arranged for piano solo in digital sheet music format.

The first performance of 'Traced Overhead' was given by Imogen Cooper at the Pittville Pump Room, as part of the Cheltenham International Festival of Music on 20 July 1996.

This piece is an explosion of John Dowland's lute song 'In Darkness Let Mee Dwell' (1610). The first performance of 'Darkness Visible' was given by the composer at the Recital Hall, Franz Liszt's hous...

Composer's note: Catch structures itself around various combinations of the four instruments (piano, cello, violin and clarinet). There are several games going on: at the start, the clarinet is the ou...

In Three Studies from Couperin, Thomas Adès empathetically reworks three pieces by the Baroque composer into music that is distinctively Adès without dismissing the source material. The basic structur...

A turning point for Adès and, it felt, for opera itself. ' The Observer (Fiona Maddocks), 31 July 2016 'Some of Adès's most powerful orchestral writing. . . The music is constantly fascinating. . . Ca...

'Powder Her Face' is the libretto for an opera by Thomas Ades. It was comissioned by Almeida Opera and premiered in the 'Everyman Theatre' cheltenham on July 1st 1995, as part of the Cheltenham festiv...

'Still Sorrowing' - a lament which is also a homage to Romantic sentiments - proved to make the most ingenious use of a prepared' piano that I have heard in a long time. While a recurrent plaint tinti...