Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Composed by Hagood Hardy Weve Got Tonight Composed by Bob Seger Song From M*a*s*h (Suicide Is Painless) Composed by Johnny Mandel, Mike Altman Misty Composed by Erroll Garner, Johnny Burke Other Side Of Midnight Composed by Michel Legrand The Rose Composed by Amanda Mc Broom Tears In Heaven Composed by Eric Clapton, Will Jennings Theme From New York, New York Composed by Fred Ebb, John Kander Heart Composed by Richard Adler, Jerry Ross Hey There Composed by Richard Adler, Jerry Ross Colors Of My Life Composed by Cy Coleman, Michael Stewart Over The Rainbow Composed by Harold Arlen, E.y. Harburg Separate Lives Love Theme From "white Nights" Theme From Ice Castles Composed by Marvin Hamlisch, Carole Bayer Sager Tonight I Celebrate My Love Composed by Michael Masser, Gerry Goffin In This Life Composed by Mike Reid, Allen Shamblin Up Where We Belong Composed by W Jennings, B Sainte, Marie, J Nitzsche From A Distance Composed by Julie Gold I Will Always Love You Composed by Dolly Parton Oh! What It Seemed To Be Composed by Bennie Benjamin, George David Weiss, Frankie I Believe I Can Fly Composed by R. Kelly Valentine Composed by Jim Brickman, Jack Kugell How Do I Live Composed by Diane Warren Colors Of The Wind Composed by Stephen Schwartz, Alan Menken A Dream Is A Wish Your Heart Makes Composed by Mack David, Al Hoffman, Jerry Livingston see less... Tell Him Composed by Linda Thompson, David Foster Con Te Patiro / Time To Say Goodbye Composed by Lucio Quarantotto, Francesco Sartori Karen's Theme Composed by Richard Carpenter The Prayer Composed by Carole Bayer Sager, David "babyface" Foster My One True Friend Composed by Carole Bayer Sager, Carole King Love Solo Composed by Dan Coates I Don't Want To Miss A Thing Composed by Diane Warren As Time Goes By Composed by Herman Hupfeld La Vie En Rose Composed by Louiguy, Piaf (French), David (Eng.) What's New? Composed by Bob Haggart, Johnny Burke Summer Me, Winter Me Composed by Michel Legrand, Alan, Marilyn Bergman Evergreen Composed by Barbra Streisand, Paul Williams Arthur's Theme (Best That You Can Do) Composed by Burt Bacharach, Carole Bayer Sager Can You Read My Mind Composed by John Williams, Leslie Bricusse Love And Marriage Composed by Jimmy Van Heusen, Sammy Cahn Desperado Composed by Don Henley, Glenn Frey The Wind Beneath My Wings Composed by Jeff Silbar, Larry Henley How Do You Keep The Music Playing? Composed by Michel Legrand, Alan Bergman Anywhere The Heart Goes Composed by Henry Mancini, Will Jennings Once Before I Go Composed by Dean Pitchford, Peter Allen Star Wars - Main Theme Composed by John Williams Open Arms Composed by Steve Perry, Jonathan Cain Canon In D Composed by Johann Pachelbel That's What Friends Are For Composed by Burt Bacharach, Carole Bayer Sager Friends Or Lovers Both To Each Composed by Paul Gordon, Jay Gruska Forever Composed by Kenny Loggins, Eva Loggins, David Foster Saving All My Love For You Composed by Gerry Goffin, Michael Masser Miss Celie's Blues Composed by Quincy Jones, Rod Temperton, And Anne's Theme Composed by Hagood Hardy One Moment In Time Composed by Albert Hammond, John Bettis Kei's Song Composed by David Benoit I Say A Little Prayer Composed by Burt Bacharach, Hal David Happy Birthday To You Composed by Mildred J. Hill, Patty S. Hill May You Always Composed by Larry Marks, Dick Charles If My Friends Could See Me Now Composed by Cy Coleman, Dorothy Fields You Can Always Count On Me Composed by Cy Coleman, David Zippel Ashokan Farewell Composed by Jay Ungar Everything I Do I Do It For You Composed by Bryan Adams, Robert Lange, Michael Kamen Send In The Clowns Composed by Stephen Sondheim She Loves Me Composed by Sheldon Harnick, Jerry Bock How Could I Ever Know? Composed by Marsha Norman, Lucy Simon My Unknown Someone Composed by Cy Coleman, Adolph Green, Betty Comden Favorite Son Composed by Cy Coleman, Adolph Green, Betty Comden I Swear Composed by Gary Baker, Frank Myers I Can Love You Like That Composed by S Diamond, M Derry, J Kimball Beauty And The Beast Composed by Howard Ashman, Alan Menken Angel Eyes Composed by Jim Brickman If You Believe Composed by Jim Brickman Because You Loved Me Composed by Diane Warren Un-break My Heart Composed by Diane Warren Ragtime Composed by Stephen Flaherty, Lynn Ahrens Complete Advanced Piano Solos (Music for All Occasions). Arranged by Dan Coates. For solo piano. Piano - Intermediate / Advanced Collection; Piano Supplemental. The Professional Touch Series. Contemporary Instrumental and Pop. SMP Level 9 (Advanced). Collection. Standard notation (does not include words to the songs). 304 pages. Published by Alfred Music Publishing

By Claude Debussy. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork. Level: Advanced (grade 6 ). 20 pages. Published by Alfred Publishing.

Piano

SKU: BR.EB-9246

Composed by Christian Mason. Solo instruments; stapled. Edition Breitkopf.

World premiere: Passau (Festspiele Europaische Wochen), 26. Juni 2016

Music post-1945; New music (post-2000). Score. Composed 2016. 16 pages. Duration 7'. Breitkopf and Haertel #EB 9246. Published by Breitkopf and Haertel (BR.EB-9246).

ISBN 9790004185469. 9 x 12 inches.

In a world of invisible waves: a butterfly is a response to the idea of the butterfly effect: that a small cause can have a disproportionately large effect. Before composing the music I wrote this short poem in order to focus my imagination and help with shaping the most appropriate sonic gestures:In a world of invisible waves: a butterfly Flies into a storm Which it unknowingly created When it took its first flight.This narrative is not literally translated, but maybe you can hear the resonances of delicate flapping and mercurial weather somewhere amid the rippling waves of the music? It is warmly dedicated to Catherine Le Bris. (Christian Mason, 2016) Bibliography: Whittall, Arnold: Questioning the Sound: the Music of Christian Mason, in: The Musical Times 161 (Summer 2017), S. 85-99

World premiere: Passau (Festspiele Europaische Wochen), 26. Juni 2016.