Piano

SKU: ST.H312

Composed by Jeffrey Whitton. Score. Stainer & Bell Ltd. #H312. Published by Stainer & Bell Ltd. (ST.H312).

ISBN 9790220218408.

A Spring Dance, a Summer Frolic, an Autumn Blues and a Winter March make up the contents of this, the sixteenth book in our Easy Festival Duets series.

Beautifully imagined, written and fingered for small hands, both parts are fun to play and equally easy. In score, with page-turns painlessly shown, the suite will be an excellent five-minute concert item too.

Author of The Art of Practising the Piano, Jeffrey Whitton is a well-known teacher and a talented composer of piano music for students.

Piano - Late Intermediate

SKU: FJ.FJH2157

Composed by Edwin Mclean. Piano Collection; Piano Supplemental. Jazz in Focus. Jazz, Blues, Ragtime. Book. The FJH Music Company Inc #98-FJH2157. Published by The FJH Music Company Inc (FJ.FJH2157).

ISBN 9781569399712. UPC: 674398229499. English.

This set of five short movements is a synthesis of classical, popular, and jazz idioms. The title Wind Songs was chosen to reflect the gentle, ephemeral quality of the music. Pianists should strive for a delicate, non-percussive approach to the music. Originally published in 1991, this 18-minute suite has stood the test of time and can be programmed in its entirety. Students are encouraged to listen to the recording available on Edwin McLean's CD Don't Say Goodbye..

By Daniel Dorff. For flute, clarinet, piano. 64 pages. Duration 21 minutes. Published by Tritone Press and Tenuto Publications

Piano - Grade 7-8

SKU: ST.C463

Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463).

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Eloisaâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

Chamber Music Piano

SKU: PR.140401190

For Piano. Composed by James Primosch. Premiered by Judith Gordon, Smith College, Northhampton, MA. Contemporary. Performance Score. With Standard notation. Composed 2012. 20 pages. Duration 14 minutes. Theodore Presser Company #140-40119. Published by Theodore Presser Company (PR.140401190).

UPC: 680160637881.

A commission by 13 individual pianists, Pure Contraption, Absolute Gift is a suite of five movements, which Primosch describes in depth on his blog, Secret Geometry. While the first movement is contained primarily to the bass clef, the second is in the treble. The suite, however, as an entirety, makes full use of the entire range of the keyboard. For advanced pianists. The piece is ferociously difficult...Both the first prelude, with its nervous thumping and banging, and 'A Gracious Dance,' Debussy a century later, ended in question marks. The 'Gigue-Scherzo' seemed more of a 'Scherzo-Gigue'; 'Nocturnal Obsessions,' with its moody left-hand ostinatos, lived up to its title. 'Contraption' evoked jazz at first, but soon [the pianist's] hands were speaking different languages. --Jeffrey Gantz, The Boston Globe.