SKU: JK.02061
It is with pleasure that we present a new piano offering from David Len Allen, Heritage Hymns of the Saints. His beautiful renditions of these beloved hymns will enhance any meeting as prelude or special musical presentation. The arrangements draw upon on the spirit of the early Saints to help us reflect on the inspiration and strength that carried them across the plains to their valley home. This distinctive collection evokes a powerful spirit and beckons us to remember how merciful the Lord has been to His saints. For advanced piano.Hymns included:Come, Come, Ye SaintsCome, Follow MeThe Iron RodHow Great the Wisdom and the LoveJoseph Smith's First PrayerRedeemer of IsraelGod Be with You Till We Meet AgainA Poor Wayfaring Man of GriefWe Thank Thee, O God, for a ProphetComposer: VariousArranger: David Len AllenDifficulty: Advanced.
SKU: PR.140401310
ISBN 9781491134153. UPC: 680160684250. 9 x 12 inches. Key: G major.
NORA’S DANCE is a jazz-influenced rag from 1921, and among the only surviving compositions by Nora Douglas Holt. A charming and exciting work rejuvenated by Lara Downes’ 2021 recording for the Rising Sun label, the rag is both a fun 2 minutes for pianists and audiences, and also a fascinating time capsule. Composed several years after Scott Joplin’s death, and several years before the Charleston pervaded popular music, NORA’S DANCE blossoms with the energy and jazz harmony starting to emerge as The Roaring 20’s, using ragtime and stride as the seed for pianistic style.My own life in music has been driven by a quest to find strong female role models, trails to follow, shoulders to stand on. In Nora Douglas Holt, I find an inspiring example of creativity, independence, and resilience – with a dash of troublemaking. She was a free spirit, a force of nature, and she lived a fascinating and eventful life on her own terms. She reinvented herself through five marriages and at least as many careers. From her beginnings at the piano at age four, she explored many avenues of musical expression – performing, composing, music journalism, broadcasting, teaching – all with inventiveness, style, and zeal.She made the most of the Roaring ’20s, as an artist, socialite, jetsetter, muse, and patroness of the Harlem Renaissance. In 1921 she started an independent arts journal called “Music and Poetry,†where the charming piano solo Nora’s Dance was first published. I think the piece captures beautifully, in a little under 2 minutes, the energy and excitement of those heady years.In 1926, Nora left New York to travel the world, performing in nightclubs throughout Europe and Asia. She put her belongings in storage before she left, and when she came back she discovered that many of her things had been stolen, including more than 200 of her musical compositions. She never composed again.When the Depression hit, she moved out to Los Angeles, where she studied music education at USC, taught music in the LA public schools, and opened her own beauty salon. She returned to New York in the ’40s and worked as a music critic for several major newspapers, then launched yet another career, this time in broadcasting. Her popular radio concert series “Nora Holt’s Concert Showcase†broadcast to New York’s classical music audience, with a focus on Black composers and performers.Ahead of her time, larger than life, full of ideas…. I am so pleased to introduce you to the feisty and free spirited Nora Douglas Holt!
SKU: PR.110418380
ISBN 9781491135334. UPC: 680160687497.
THREE FANTASIES is a fantastical escape from reality. The first fantasy (“Preludeâ€) features a luscious and expressive melody accompanied by dark, romantic harmonies. The following fantasy (“Cosmic Lullabyâ€) begins and ends in a serene and introspective manner, with a tumultuous and harmonically rich middle section. To end the set, “Intermezzo†provides reflection and a lively resolution. Gardels’ profound lyricism and masterful piano writing make this set enjoyable for any pianist to perform at home or in the concert hall.The three fantasies here were written during the height of the 2020-21 Coronavirus lockdowns – a time everyone will forever recall as a period of the world standing still and experiencing new degrees of isolation, inactivity, and apprehension.A fantasy is a genre to which a composer can turn as a respite from the constraints of form, tradition, and expectation. What the genre may lack in structure and design it makes up for with spontaneity, capriciousness, and improvisatory musical gesture.I hope performers feel free to take a similarly “fantastical†approach to the interpretation of these works, seeing the score and notation as a point of departure rather than arrival, and proceed with unabashed freedom of spirit in their playing.
SKU: HL.14042937
Monsoon Toccata by Anthony Gilbert. 3'33; for solo piano. In memoriam Janet Owen Thomas (1961-2002). In 1988, Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together, doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon, and early the following morning there was also a minor earthquake. This experience determined the spirit of the music, and Northern Indian Raga determines the purely technical approach, with thequasi-improvisatory toccatalike textures acting as decoration to a slow-moving, widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena. A.G. Monsoon Toccata by Anthony Gilbert. 3'33'; for solo piano. In memoriam Janet Owen Thomas (1961-2002).'In 1988, Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together, doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon, and early the following morning there was also a minor earthquake.This experience determined the spirit of the music, and Northern Indian Raga determines the purely technical approach, withthe quasi-improvisatory toccatalike textures acting as decoration to a slow-moving, widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena.'A.G.
SKU: HL.49047037
ISBN 9781705182024. UPC: 842819116998. 9.0x12.0x0.123 inches.
My father, Y. “Raghu†Raghunathan, came from India to the U.S. in 1963, followed soon after by my mother Sita. Dad enjoyed a substantial career as a pharmaceutical chemist, but he drew satisfaction from a simple life among family and friends, never allowing professional demands to overshadow his devotion to loved ones. Modest, compassionate, and ardently egalitarian, he was careful not to take anything too seriously, especially himself. He embraced his own ordinariness because it connected him to everyone else; it made him no better or worse than his neighbor, no more or less deserving of friendship or kindness than any of his fellow human beings. He showed us how to live with dignity, compassion, grace, and boundless love. His last piece of advice to me: “Go slow.†Several weeks after his passing, I happened upon a recording of Shostakovich’s 24 Preludes and Fugues, opus 87. I couldn’t understand why at the time, but the sixteenth prelude and fugue took hold of me and would not let go. I completely immersed myself in that piece for ten days, until it became a mystical conduit for something else: in this semi-trance state I produced a prelude and fugue of my own, in prayer (orison) and in praise (upastuti). It shadows Shostakovich’s form, but it somehow expresses my father’s unhurried, loving spirit. I’ve come to believe that he sent me this piece as a blessing. I hope you feel his presence in it as I do. Vijay Iyer.
SKU: BT.MUSUMP19820
Rodolfo Halffter (1900-1987) was a Spanish composer who was exiled to Mexico in 1939 following the Spanish civil war, and spent the majority of the rest of his life there. His Sonata Op. 16 (1947) was the first of three Sonatas for solo Piano. Like most of his early compositions, its tonality and harmonies are clearly inspired by Scarlatti and Falla, displaying only traces of the serialism that would later dominate his works. Light-hearted, dance-like, and quirky, this attractive piece is immediately likeable. Scored in three movements: Allegro Deciso - Moderato Cantabile, Molto Espressivo - Allegro Con Spirito .
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