SKU: CF.CM9625
ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.
The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still†provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,†are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still†are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.
SKU: SU.80601640
Cello & Piano Composed: 1942 Published by: E.B. Marks.
SKU: HL.49008410
ISBN 9790001131384. UPC: 073999352238. 8.25x11.75x0.125 inches.
Shchedrin's oeuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example Music from afar for 2 bass recorders, or Balalaika for a solo violin playing pizzicato throughout. This predilection for the unusual leads the composer in Parabola concertante with its basically subdued and contemplative mood to add a charcteristic counterpoint by contrasting the accompanying string orchestra with timpani. The piece was composed for master virtuoso Mstislav Rostropovitch, who played the solo part in the first performance at the International Cello Festival in Kronberg. Cello, string orchestra, and timpani. Piano reduction with solo part.
SKU: PR.114418630
ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.
The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fataleâ€), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black filmâ€). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fataleâ€), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.
SKU: CF.MXE5
ISBN 9780825853401. UPC: 798408053406. 9 X 12 inches.
Commissioned in 1998, this chamber piece is truly unique experience! A short piece (18 minutes), the work is derived from the composer’s fascination with a theory from quantum physics stating that time is fluid and that matter can exist concurrently in one place. To encompass this idea, the composer asks that a passage of music that he wrote when he was 15 be pre-recorded and played during the second movement (Desolato). The music of the adult David Carlson is coupled with music written thirty years ago, creating a sonic continuum. The highly charged, rhythmically aggressive music of the first movement is contrasted by the nostalgic slow mood of the second movement. The final movement is both energetic and passionate, which brings this imaginative work to a positive conclusion.
SKU: HH.HH286-FSP
ISBN 9790708092254.
A true Grand Duo for cello and piano to provide a much needed connection between the first sonatas for this combination -- by Beethoven -- and the later 19th century repertoire. Eberl's heroic style provides a masterly alternative to the over familiar works, with the balance of power between the two players scrupulously maintained throughout, and ingenious formal innovations. The Rhapsodie finale in particular, with sections in varying metres and moods, resolves in an elegant Pastorale, an entirely new format for this combination. The composer thoughtfully provided an adaptation of the cello part for violin containing many differences which will be of interest to players of both instruments; both string parts are included in this publication.
SKU: HL.49045283
ISBN 9790001162470. UPC: 841886028913. 9.0x12.0x0.073 inches.
Take Seven is a tried and trusted showpiece with audience appeal. The title Take Seven is of course a play on Paul Desmond's famous Take Five and its recording by the Dave Brubeck Quartet. As there, the rhythms in this piece are largely based on an asymmetric metre - in this case, 7/4 time. Unlike most jazz pieces with an uneven metre, however, Take Seven goes through various moods, sections and tempo changes, illuminating the main theme from different angles.
SKU: OU.9780193408654
ISBN 9780193408654. 12 x 8 inches.
A virtuosic single movement piece for cello and piano which moves through a series of moods from mysterious and atmospheric to turbulent and agitated, and takes full advantage of the range of timbral, rhythmic, and textural possibilities allowed by this combination of instruments.
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