SKU: YM.GPW01096341

ISBN 9784636963410.

24 arrangements for two violins.
24Shou Xiao Ti Qin Er Zhong Zou Le Qu .

1. Beauty and the Beast; 2. A Whole New World; 3. Chim Chim Cher-ee; 4. Shall We Dance?; 5. Edelweiss; 6. Climb Ev'ry Mountain; 7. Over the Rainbow; 8. Day of the River; 9. Piano Quintet Die Forelle/Schubert; 10. Je te veux/Satie; 11. Merry Widow Waltz/Lehar; 12. Waltz from The Sleeping Beauty/Tchaikovsky; 13. Home Sweet Home/Bishof; 14. Heidenroslein/Werner; 15. Largo from The New World Symphony/Dvorak; 16. Humoresque/Dvorak; 17. Ave Maria/J. S. Bach-Gounod; 18. Summertime/Gershwin; 19. Requiem KV 626/Mozart; 20. Aura Lee; 21. Greensleeves; 22. Deck the Halls; 23. Old Folks at Home/Foster; 24. We Wish You a Merry Christmas
1. Mei Nu Yu Ye Shou ; 2. Xin De Shi Jie ; 3. Yan Cong Zhi Ge ; 4. Shall We Dance?; 5. Xue Rong Hua ; 6. Pan Yue Qun Shan ; 7. Cai Hong Zhi Shang ; 8. Na Yi Tian De He Chuan ; 9. Gang Qin Wu Zhong Zou Zun Yu /Shu Bo Te ; 10. Wo Xu Yao Ni /Sa Di ; 11. Feng Liu Gua Fu Yuan Wu Qu /Lai Ha Er ; 12. Yuan Wu Qu Xuan Zi Shui Mei Ren /Chai Ke Fu Si Ji ; 13. Jia ,Tian Mi De Jia /Bishof; 14. Ye Mei Gui /Werner; 15. Yan Ban Xuan Zi Xin Da Lu Jiao Xiang Qu /De Wo Xia Ke ; 16. You Mo Qu /De Wo Xia Ke ; 17. Sheng Mu Song /Ba He ; 18. Xia Tian /Ge Shi Wen ; 19. An Hun Qu KV 626/Mo Zha Te ; 20. Ao Le Li ; 21. Lu Xiu Zi ; 22. Huan Le Sheng Dan ; 23. Gu Xiang De Qin Ren /Foster; 24. Zhu Ni Sheng Dan Kuai Le.

SKU: CF.YAS19

ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.

Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: HL.14037707

ISBN 9781849385916. UPC: 884088578626. 8.25x11.75x0.262 inches.

Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.

Kevin Volans (the composer) notes on the piece:
In the past I have been interested in trying to go beyond historicism (1970s), beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy', almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This, of course, has already been done by a numberof composers (many from New York - Phil Niblock and La Monte Young, to name but two), butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work,and fearing this would make the label stick, I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic, an aesthetic which,however, pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure - the ego - underfoot.You get theimpression He dances on the spot, not movingaround at all. I like that.
The piece is dedicated to Pablo Pascual Cilleruelo.

SKU: PR.14440727S

UPC: 680160681907. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.