SKU: PR.114422690
UPC: 680160684809. 9 x 12 inches.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcards from Wyoming to offer three glimpses of what I found to be the most striking aspects of my residence. The Solitude of Stars, the third and final movement of the original sextet, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. This edition is part of The Solitude of Stars Project that I undertook during the 2020 COVID-19 pandemic, which consists of a series of arrangements that I made for colleagues and friends.In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont,Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists thegift of time, space, and support to follow their artistic pursuits; we are provided withstudio space, housing, and meals so that we can work continuously on our projects. I havebeen in residence at numerous artist colonies; however, nothing in my previousexperiences prepared me for living in such isolated, wild country. Ucross is situated on a20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 peopleliving within the town. But what Clearmont lacks in population, it makes up forabundantly and spectacularly in wilderness and wildlife. I composed the sextet Postcardsfrom Wyoming to offer three glimpses of what I found to be the most striking aspects ofmy residence. The Solitude of Stars, the third and final movement of the original sextet,was inspired by the stunning nightly display of the heavens above. Without city lightsdimming the night sky, countless stars shone brightly over the vast expanse of the prairie.This edition is part of The Solitude of Stars Project that I undertook during the 2020COVID-19 pandemic, which consists of a series of arrangements that I made forcolleagues and friends.
SKU: HL.49019164
ISBN 9790220133312. 9.0x12.0x0.184 inches.
The idea to write a horn trio came to the composer (also an acclaimed pianist) after giving a concert with a horn player from the Nash Ensemble, which included the Ligeti and the Brahms horn trios. When the Nash commissioned Watkins to write a new piece, he knew he would write something for horn. The result is an inventive 12-minute work for horn, violin, and piano that alternates driving rhythmic passages with slower, contemplative music. The trio is both lyrical and impelling, typifying Watkins' clear sound. Cast in a single movement, the music maintains a subtle tension throughout, finally building to a climactic finish. A fantastic piece for ambitious players.
SKU: PR.164002390
UPC: 680160038091.
I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.
SKU: OU.9780193451551
ISBN 9780193451551. 12 x 8 inches.
For violin and piano The composer writes: 'Persistent Memory is a little six minute drama . . . although the piano begins as the more aggressive partner and triggers the violin into animation, it is in fact the piano that finally provides a note of resolution, or at least, partial resolution.'.
SKU: IS.VLP6268EM
ISBN 9790365062683.
Paul Chatrou, born in the Netherlands, studied piano and composition in Utrecht. He played in various ensembles for which he also composed music. He is teaching the piano and composition both private and in various educational institutions. As a composer, he works mainly freelance. He writes both instrumental and vocal compositions in a romantic style based on classical technique.
SKU: IS.VLP6506EM
ISBN 9790365065066.
SKU: HL.48025078
ISBN 9783793143222. UPC: 196288059769. 9.0x12.0x0.045 inches.
Elena Kats-Chernin has collaborated with writer Joanna Murray-Smith several times, most recently on the TV soap opera The Divorce. ANostalgic Piece was originally composed as incidental music for the Australian author's play Honor and has had many lives and titles since then, says Kats-Chernin. It's a melancholy, catchy tune that would go well with the sad tramp of an old silent film. The version for violin and piano appeared in 2005 on her portrait CD Ragtime & Blue on the Signum Classics label.
SKU: OU.9780193583245
ISBN 9780193583245. 12 x 8 inches.
For violin and piano The composer writes: The structure is a short set of double variations, the two themes following a short introduction. One is flamboyant and rhetorical, the other gentle and lyrical. The first develops rhythmically, through a toccata to a vigorous dance, the second becomes increasingly decorated so that the line is almost dissolved, but finally emerges in its clearest, simplest form. In a coda each musical character disappears into silence.
SKU: HL.14029480
8.25x11.75x0.293 inches.
Merseyside composer, writer and poet Cyril Scott composed this work in 1955. Over 30 years after his death, his music is coming into favour, and this, along with many others, are finally being put to wax by Naxos/Chandros.
SKU: HL.48021305
This publication paves the way for intimate chamber music and recital playing. The popular melodies are taken from the early volumesof the Colourstrings Violin ABC. The violin part is printed in two ways: with coloured notes and with traditional note writings. Theparts for violin and piano are available in two separate books.
SKU: HL.14030977
ISBN 9788759862148.
Work for Violin and Piano dating from 1999. The composer writes: 'Sieben Sehnsuchte was written in 1999 for David Alberman and Rolf Hind. As the title suggests, it is in seven movements - each more insanely difficult and bothersome than the other. All sorts of possible and impossible playing techniques have been used, and the performers have to both whistle and sing. However, it is not the intention that the slightly more unusual sound should be heard as effects. Everything is supposed to fuse together into something that is in itself a little opera - a 'chamber piece'. It was written in a period when I was waiting impatiently for the libretto for Under the Sky, and I see it as a meeting (or seven meetings) between two people - two instruments - longing for each other; longing to merge together. The piece is a kind of sister work to Roses are Falling.'.
SKU: HL.14028266
Cyril Scott was an English composer, writer, and poet. He was essentially a late romantic composer, whose style was at the same time strongly influenced by impressionism. His harmony was notably exotic. Scott wrote around four hundred works,which include two mature symphonies, three operas, three Piano concertos,concertos for Violin, Cello, Oboe and Harpsichord, several overtures, four oratorios, as well as a mass of chamber music.
While less appreciated during his lifetime, it is Scott's late works(written between 1950 and his death) that are the most individual, with their ever-shifting harmoniccolours and wayward inflections of phrase and mood,capturing perfectly the way the mind shifts, backwards and forwards, between reminiscence, regrets, and self-assertion.
Composed in 1961 for Flute and Piano and premiered by William Bennett and Margaret Norman on November 9 of that year, Sonata For Flute is perfect example of the genius of Scott's late works.
SKU: HL.48021306
SKU: AP.36-60710009
ISBN 9798888521786. UPC: 676737764432. English.
Unlike Bach and Chopin, Claude Debussy (1862-1918) wrote his twenty-four Préludes for solo piano without a clearly organized pattern of key relationships. They were written from December 1909 to April 1913, in two sets, with twelve preludes to each volume. Jane Mortier delivered the premiere of the first volume on May 3, 1911, at the Salle Pleyel in Paris. Walter Morse Rummel gave the first complete performance of the second volume on June 12, 1913, at the Aeolian Hall in London. Prelude No. 5 from Book 2, subtitled Bruyéres, bears similarity to another of his works for piano, La Fille aux cheveux de lin (The Girl with the Flaxen Hair). The pianist Marguerite Long, a friend of the composer, suggested that it sounded reminiscent of the mingling scent of sea mist and pines. French composer and arranger Lucien Garban completed this transcription of No. 5 from Book 2 (Bruyères) for violin and piano in 1926. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: PR.144407050
UPC: 680160655519. 9 x 12 inches.
Celebrating 30 years, the Philadelphia Chamber Music Society commissioned a work of 20-25 minutes for violin and piano from James Primosch, University of Pennsylvania professor of music. Primosch had originally thought to create a new sonata, but what developed is more appropriately a set of five character pieces, two of which were directly inspired by poems. Five Poems was premiered in May, 2016, and Primosch's thoughts are recorded at his website: https://jamesprimosch.com/2016/05/10/five-poems-premiere/.Upon receiving a commission from the Philadelphia Chamber MusicSociety for a violin and piano piece in honor of its 30th anniversary, myplan was to write a sonata, a term suggesting a relatively abstractdiscourse. But as the piece developed, the movements struck me ascharacter pieces rather than music employing a more “symphonicâ€approach. When specific poems started to attach themselves in my mindwith two of the movements, the overall title Five Poems became clear.The title of the second movement is a line from Susan Stewart’s“Descentâ€, which deals with Aeneas’s visit to the underworld. The musicis alternately fiercely driving and quite still, though tense. RobertFrost’s Nothing Gold Can Stay summons fleet scale passages framinglyrical counterpoint. The remaining movements do not refer to specificpoems, but have titles reflecting their expressive tone. Dreamscape ismusing with an improvisatory violin line over shifting pairs of pianochords. Nightsong is a bluesy lullaby that turns highly dramatic.Vision begins with a closely argued struggle but breaks through tosomething spacious and clear.
SKU: AP.36-60710011
ISBN 9798888521892. UPC: 676737626686. English.
Austrian-born American violinist and composer Fritz Kreisler (1875-1962) is considered among the best virtuosic violinists in history. While he did write some operettas, vocal works, and a smattering of pieces for other instruments, it is unsurprising that most of his output was for the violin. In the earlier part of his career, he wrote a number of pastiches in the style of other well-known composers, going so far as to ascribe the work to them rather than to himself. In 1935, Kreisler revealed that he had composed these select works, answering his critics by pointing out that they had deemed to music worthy under the other composers' names, and that the name changes, the value remains. Among these such works is his Concerto in C, IFK 42, which Kreisler falsely attributed to Baroque composer Antonio Vivaldi. In three movements, the work exists with both string orchestra accompaniment and this Master reprint edition for violin and piano.
SKU: IS.VLP7262EM
ISBN 9790365072620.
Monique Pstrokonsky-Gauché, issue d'une famille de peintres polonais est née en Auvergne en 1945. Elle a étudié le piano depuis l'âge de 9 ans puis l'harmonie classique de 1963 à 1971 auprès de Julien Falk (compositeur français 1902-1987, professeur au CNSM de Paris). Pianiste accompagnatrice en conservatoire, elle a toujours été passionnée de composition et de pédagogie. Elle est membre de la SACEM depuis 1971. En 2000, elle a publié : Comment commencer l'harmonie (2 volumes) et une Méthode de piano pour débutants, enfants à partir de 8 ans et adultes (2 volumes) édités aux éditions Jobert. Dans ce but, elle a organisé un enseignement très progressif avec une parfaite concordance entre le solfège, les notes apprises et les morceaux qu'elle a spécialement composés pour ses méthodes. En 2010, dans le même esprit, elle propose une méthode de piano ludique spécialement écrite pour les très jeunes enfants à partir de 5-6 ans : Ma toute petite méthode de piano (volume 1) suivie en 2014 d'un 2ème volume, éditée par letoutpetitconservatoire, Editions KP Créations.
SKU: HL.50600469
8.25x11.75x0.14 inches.
“I belong to that group of people who appropriate Debussy's wonderfully formulated philosophy according to which music begins where words end. Contrary to a view that has become widespread during the past 100 years, I am convinced that the task of the composer is to write music, not to talk about it. Even if my technical and aesthetic commentaries on one of my compositions were to have a certain value for listeners, such a commentary would have the effect that I were more or less forcing my own vision of the work onto the listener. The power of music is, however, a gift that makes it capable of calling forth different reactions in listeners. I shall therefore limit myself to saying that the 'Imaginary Variations' were inspired by the wonderful recordings of Janet Packer that I listened to with the greatest pleasure prior to the beginning of my work. The title is derived from the fact that this composition is structured similarly to the classical variation form and that the audience can listen to the constant changes of the musical ideas. In truth, however, the twelve short sections of the work are not true variations even though they reveal some connections and similarities.†(Krzysztof Meyer).
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