SKU: CF.CM9616

ISBN 9781491156711. UPC: 680160915255. 6.875 x 10.5 inches. Key: C major. English. Thomas Troeger.

This SSAA work, originally written for SATB voices celebrates the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. The inspirational text is Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. Somewhere I Have Never Traveled has potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence.
It has been a joy to re-voice this original SATB composition for SSAA voices and to collaborate with Heather Orr at Montgomery High School. In July 2014, my dear friend Kathy Bizarth commissioned me to compose a new work celebrating the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. It was in September when we agreed on the inspirational text, Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. I moved to Italy in January for a sabbatical, and in February, I spent four days composing the piece at the Palazzo Bassi Brugnatelli, a dear friend's villa in Robbiate, Italy. Interestingly enough, the middle part of the piece (mm. 30-39) and end of the piece came first (mm. 40-62). Completed in Conegliano in late February, this composition is very special to me as it was the first composition I wrote after my mother died, and it was also composed for a dear friend. I have a profound connection to what I hope will be a deeply inspirational composition to those who sing it. Somewhere I Have Never Traveled has real potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence. Somewhere I have never traveled is the place I want to be... (Me too.).
It has been a joy to re-voice this original SATB composition for SSAA voices and to collaborate with Heather Orr at Montgomery High School. In July 2014, my dear friend Kathy Bizarth commissioned me to compose a new work celebrating the tenth anniversary of the Masterworks Community Chorale in Newnan, Georgia. It was in September when we agreed on the inspirational text, Somewhere I Have Never Traveled, a text by the Yale Theologian, Thomas Troeger. I moved to Italy in January for a sabbatical, and in February, I spent four days composing the piece at the Palazzo Bassi Brugnatelli, a dear friend’s villa in Robbiate, Italy. Interestingly enough, the middle part of the piece (mm. 30-39) and end of the piece came first (mm. 40-62). Completed in Conegliano in late February, this composition is very special to me as it was the first composition I wrote after my mother died, and it was also composed for a dear friend. I have a profound connection to what I hope will be a deeply inspirational composition to those who sing it.Somewhere I Have Never Traveled has real potential for building tone and creating a panorama of colors, while at the same time creating emotional soundscapes, all through a delightful text that creates a dreamlike innocence.Somewhere I have never traveled is the place I want to be... (Me too.).

SKU: BR.BG-499

ISBN 9790004120026. 0 x 0 inches.

World premiere Darmstadt, July 16, 1963.

SKU: BR.EB-9428

ISBN 9790004189054. 9 x 12 inches.

The Travel Preludes are three short pieces ideally conceived for opening a concert.The first, Urgent Call, is like a bell calling the audience and stressing the importance - and at times the urgency - of making music. The second prelude, The Art of Taking a Seat, has to do with that carefulness, kindness and attention the attendance of a concert requires from the audience. Because to take a seat, to concentrate and to open heart and mind to the music is an art everybody should practice. The third piece, In Praise of Discretion, is an homage to all those musicians, who enter the stage without pretensions or theatrics, being able to concentrate on nothing but the music itself. (Nicola Campogrande, July 2021 ). Sono tre brevi pagine, idealmente pensate per aprire un concerto. La prima, Urgent call, e come un campanello che richiama il pubblico e gli ricorda in modo deciso quanto sia importante - e talvolta davvero urgente - la pratica della musica. La seconda, The Art of Taking a Seat, ha a che fare con la cura, il garbo, l'attenzione che si richiedono a chi assiste a un concerto. Perche sedersi, concentrarsi, aprire il cuore e il cervello alla musica sono davvero un'arte che tutti dovrebbero conoscere. La terza, In Praise of Discretion, e un elogio agli interpreti che salgono sul palcoscenico senza enfasi, senza teatralita, e sanno concentrarsi sulla musica. (Nicola Campogrande, luglio 2021)

World premiere: Cernobbio/Italy, Piazza del Risorgimento, July 1, 2021.

SKU: BR.EB-8343

ISBN 9790004176511. 9 x 12 inches.

Vor und zuruck ist aus einem Rhythmus-Modell der 13. Diabelli-Variation von Beethoven entwickelt. Daraus sind alle rhythmischen Verhaltnisse nach den einzeln veranderbaren Kategorien a) Lange des Modells, b) Zahl der Anschlage, c) Proportion der Dauern abgeleitet. Die verschiedenen spieltechnischen Moglichkeiten der Oboe hinsichtlich der Dynamik, der Klangfarbe (Alternativgriffe fur einen Ton), der Klangcharakteristik, der Register, der Artikulationen und deren vielfaltige Mischung sowie die einkomponierte korperliche Anstrengung des Interpreten farben und ,,instrumentieren, ebenfalls dem Rhythmus-Modell gehorchend, drei Ausdruckscharakteristiken. Diese knupfen in stets veranderter Reihenfolge aneinander an und bilden dadurch, dass sie bei jedem Auftauchen kompositorisch neu formuliert sind, die Form des Stuckes als eines fortlaufenden, spiralartigen Prozesses. Neben diesem ,,Vor und zuruck gibt es auch ein historisches: Aus Beethovens Rhythmusmodell wird ein Stuck mit fortschrittlichen Elementen unserer Zeit. (Nicolaus A. Huber, 1981) CDs: Matthias Arter CD col legno WWE 1CD 20009 Christian Hommel CD ars musici FMF AM 1224-2 Bibliography : Nimczik , Ortwin: Konzeptionelle Rhythmuskomposition. ,,Vor und zuruck fur Oboe (1981) von Nicolaus A. Huber, in: Neue Musik vermitteln. Analysen - Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott 2004, pp. 98-111. Schick , Tobias Eduard: Weltbezuge in der Musik Mathias Spahlingers (Beihefte zum Archiv fur Musikwissenschaft, Band 80), Stuttgart; Franz Steiner 2018, here p. 101.

World premiere: Montepulciano, July 1982.

SKU: PR.114416260

ISBN 9781491101070. UPC: 680160620043. 9 x 12 inches.

Adler's milestone String Quartet No. 10 was composed for the Cassatt String Quartet for performance at the Bowdoin International Music Festival's 50th Anniversary season in 2014. Built in a single movement of contrasting sections, Adler's 10th will continue to be featured in upcoming concerts by the Cassatt Quartet, including a performance in Beijing in July.
The String Quartet No. 10 was written in 2013 for the 50th anniversary of the Bowdoin International Summer Music Festival and is dedicated to the Cassatt Quartet who premiered the work during the 50th anniversary celebration in July 2014.  The work was written with a generous grant from the Fromm Music Foundation.The 10th String Quartet is in one continuous movement but divided into four sections.  The first section is a slow introduction which presents the basic harmonic material of the entire work.  This is suddenly interrupted by a very agitated movement forming a great contrast to the calm of the beginning.  This rhythmic drive comes to a stop and is relieved by the third section which is a variation of the beginning, but is a bit longer and more developed.  This is followed by the final section which again captures the agitation of the second section and brings the work to a wild and most aggressive end.—Samuel Adler.

SKU: AP.30796

UPC: 038081336404. English. Words by Katharine Lee Bates.

A grand arrangement of this highly patriotic theme is sure to bring pride to your ensemble. The familiar verse can be used as a sing-along if desired. The craft of this particular arrangement is that endurance and range has been carefully considered ensuring a dramatic close to a program while not overwhelming any one section of your band. Full of emotion, a certain winner!

SKU: SU.97023310

Inspired by the French Romantic and Impressionist traditions, my romances for fute and piano, composed during late July and early August 1984, was carefully conceived for the marvelous lyrical and technical gifts of Robert Stallman and Richard Goode, to whom the work is warmly dedicated. All three Romances, although brief in duration, unfold with a sense of large gesture and design. The first Romance is in 3/4 time and flows generally in the manner of a lyrical waltz with occasional turbulent interruptions. The second Romance is in 4/4 time, unfolding in a stately Baroque-like manner, and the third Romance is in 2/4 time, melodically expansive and often tempestuous. All three Romances strive to honor the goals of traditional performance practice while, at the same time, they create an energy and drama of modernity and contemporary richness. And for these goals I am indebted to so many of the most outstanding performers and conductors of our time with whom I have worked and from whom I have learned much– those who have demonstrated the importance of preserving in addition to further developing those significant natural attributes of musical expression and traditional performance practice which are so often ignored in contemporary compositional values. — William Thomas McKinleyFlute & Piano Duration: 14' Composed: 1984 Published by: Notevole Music Publishing.

SKU: HL.14004213

9.0x12.0x0.175 inches.

Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.