SKU: BR.EB-9250

World premiere: Toronto, November 17, 2016Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez)

ISBN 9790004185506. 10 x 12.5 inches.

Whereas Nono considered the world to be only fragmentarily analyzable, so-called consumer capitalism increasingly intrudes upon ego structures, by fragmenting them to the point of: assumed insufficiency, i.e., was consumption a form of infiltration?, or: in television you can see models licking face cream because it's so rich etc. (retranslated), as Meredith Haaf cited in her book review (SZ / 23.05.2016 Alexandra Kleeman: You Too Can Have A Body Like Mine) , and to the point of similar perfection-senselessness. Music doesn't do things by halves. Even when events or notes are puffed up, they can retain elegance and significance. Other ego amplitudes are of violinistic nature or are favourite memories - Paganini's Capricci, Stockhausen's Studie I, Steve Reich, the tone C and similar things. The craziest egos are quantums, because at no time are they identical with themselves. They can entangle and superpose, are nonlocal, etc. Although the sound character in this Duo is fairly open, I believe I succeeded in making probability waves of harmonic stopovers perceptible. This means hearing without analyzing and without constantly measuring. Nonlocality - without messenger particles - means no harmonic steps, but with the capacity to interact. (Nicolaus A. Huber, May 2016)

World premiere: Toronto, November 17, 2016 Written for the Duo Wapiti (Genevieve Liboiron, Daniel Anez).

SKU: PR.414411630

ISBN 9781491114551. UPC: 680160089956. 9.5 x 13 inches.

EXCURSIONS is a one-movement work exploring two “characters.” A rhapsodic, descending passage is introduced by the cello, followed by a  static, chorale-like phrase for the violin and cello. Their individual developments are separated by a slow, contrasting middle section. The composer has written: “This is analogous to situations in life: we stand by a crossroad, choosing one option and forfeiting the other. But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination… or can we? It is symbolic that in this work both roads eventually lead to the same place.”.
Excursions for violin, cello and piano, is a one-movement work of tripartite structure in which materials explored in the first of three large sections are brought back in the last section.  The traditional statement-contrast-restatement form, which is readily suggested by such a description, is, however, not at all in the mold in which the work is cast.  Rather, my aim was to subject the essential materials of the piece (two “characters” –the rhapsodic, descending passage played by the cello in the very opening and, later, a static, slow moving, chorale-like phrase for the violin and cello) to two entirely different developments separated by a slow, contrasting middle section.  This is analogous to an exploration of the ramifications that two divergent choices made by the same person might lead to.  In life, as we stand by a crossroad, choosing one option usually means having to forfeit the other.  But in art, the realm of the imagination, we can perhaps afford to pursue more than one route to its ultimate destination…or can we?  It is, I believe, symbolic that in this work both roads eventually lead to the same place: in composing Excursions, it seemed absolutely inescapable that at the end the slow, contrasting middle sections – both more resigned and peaceful than the battling spirits of the outer parts – should return briefly to end the work. The piano trio combination (once highly favored, but to this composer still as challenging today) is approached here as a collaborative effort of three equal soloists – partners.  Of the available pairings, the two strings find themselves occasionally approached as a team pitted against the piano.  The cello-piano combination is also not uncommon here, and there is an extended violin cadenza toward the end of the piece.  The writing for the three instruments is closely and at times interlinked, but the players are all instructed to play from scores. Excursions was first performed at Brandeis University in 1982.

SKU: HL.49045822

ISBN 9781540024749. UPC: 888680737764. 9.25x12.0x0.29 inches.

The Kreutzer Sonata was originally dedicated not to Rudolphe Kreutzer (who never performed it) but to George Bridgetower, a famed 18th-century Afro-European concert violinist. In an early draft, Beethoven jokingly labeled the piece in starkly racialized terms: Sonata Mulattica composed for the mulatto Brischdauer, big wild mulatto composer.Beethoven and Bridgetower performed the premiere, which was by all accounts a success, and even featuring some improvised embellishment by the violinist. While celebrating afterwards, the two quarreled about what Beethoven construed as Bridgetower's insult of a female acquaintance; the composer then revoked the original dedication, adding Kreutzer's name instead. The work gained acclaim, while Bridgetower's career languished; he eventually died in poverty.Bridgetower has been the subject of considerable research and speculation, most notably in poet Rita Dove's book, Sonata Mulattica. From our 21st-century vantage, considering Bridgetower's unique circumstance, we can only see him as an ambiguous figure who, in embodying difference, provoked inspiration, fantasy, desire, anger and, finally, erasure.My piece is a collection of imaginings about George Bridgetower. It is not programmatic, but it takes on an episodic character, assembled from contrasting fragments. The dance rhythms, recurring figures and gestural contours are intended to feature the embodied expertise and expressivity of the performers, who at times must access liminal sounds and execute complex synchronies. I am grateful to Jenny Koh and Shai Wosner for involving me in their beautiful, virtuosic music-making.

SKU: AP.36-52710030

ISBN 9781633619579. UPC: 679360704073. English.

All 1st position, compatible with Suzuki Book #1; violin plays melody with simple accompaniments. Includes optional descant for violin. Hymns included: Jesus Loves Me; I Sing the Mighty Power of God; Take My Life, and Let it Be; Come Thou Long-Expected Jesus; Joyful, Joyful, We Adore Thee; Amazing Grace; For the Beauty of the Earth; Holy, Holy, Holy; Be Thou My Vision; Fairest Lord Jesus.

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