SKU: M7.BRP-1505
This piece was originally written for Violin and Piano, and if the 'New World' Symphony and the 'American' String Quartet are the best-known products of AntonÃn Dvorak's years in the United States, the little Sonatina in G major (sometimes called the 'Indian Lament' Sonatina) may well be the most obscure; yet it is a charming work that deserves better than its relegation to the learning books of young violinists. The Sonatina is in four movements: Allegro risoluto , Larghetto , Scherzo (molto vivace) , and Allegro .
SKU: CF.CY1871F
ISBN 9780825895289. UPC: 798408095284. 11 x 14 inches.
With degrees from Sarah Lawrence College and Columbia University, Wallach went on to receive the first ever doctorate in composition from the Manhattan School of Music. She has won first prize in the Inter-American Music Awards, has had her String Quartet nominated for a Pulitzer Prize, and was commissioned for a 200-voice oratorio by the New York Choral Society for its 35th Anniversary season. Wallach also serves as pre-concert lecturer for the New York Philharmonic. Her works have been published by E.C. Schirmer, C.F. Peters, and others. The aptly named Glimpses (1981), a series of brief vignettes for orchestra, shows her developing style and command of orchestral forces. Performance materials available on rental.
SKU: SU.92090190
World Premiere Recordings of New American Music MSR CLASSICS (MS 1298) Newman & Oltman Guitar Duo Daedalus Quartet Sierra: Tres Homenajes Húngaros (Three Hungarian Tributes).
SKU: BA.BA10750
ISBN 9790006559480. 30 x 23 cm inches. Preface: Kurt Sassmannshaus.
Edmund Severn (1862–1942) was an American composer and violinist. Born in England, he studied in various cities including Berlin and composed works for unaccompanied violin, orchestra and string quartet. “Polish Dance†is his best-known work. Written in the style of a mazurka, it is an invitation to this dance form with its distinctive local colour. Many ritardandos and rubatos add rhythmic spice; wide leaps, double stops and three-note chords ensure delightful melodic and harmonic turns. Expressive dynamics provide the necessary vim to this “Polish Danceâ€!
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: SU.90920032
Book 2 contains contains scores and parts to 10 more compositions by jazz master and leader of the World Saxophone Quartet, Julius Hemphill. Newly engraved edition. Edited by Marty Ehrlich.Julius Hemphill formed his Saxophone Sextet in 1989, composing new music for concert performances and his celebrated dance and theatre collaborations. The wide history of African-American music is heard in these pieces, all shaped by Hemphill's rich imagination and compositional acumen. The instrumentation is three altos with soprano doubles, two tenors, and baritone sax. The two volumes presented here mirror each other in the range of musical worlds Hemphill evoked as he explores the rich harmony and counterpoint possible with the six- saxophone choir. Also available: Book 1 (Cat. #90920031) CONTENTS 1. Fat Man 2. Tribute/Closer (from Long Tongues: A Saxophone Opera) 3. Floppy/Blued-UP 4. The Answer 5. Georgia Blue 6. Holy Rockers 7. Mr. Critical 8. The Glide 9. Revue 10. The Hard Blues Saxophone Sextet Composed: 1992 Published by: Subito Music Publishing.
SKU: P2.30081
American bassoonist and composer Reed Hanna has a growing catalog of works for various ensemble mediums including wind band, woodwind and brass quintets, instrumental solo and chamber repertoire, and pieces for euphonium quartet. Weekends, a duet for clarinet and bassoon, is a whimsical set of three movements entitled Friday, Saturday (AM) and Saturday (PM).
SKU: HL.14042691
8.25x11.5x0.145 inches.
Vocal Score For John Tavener'S Three Hymns Of George Herbert For Satb Chorus, Percussion And Strings. Commissioned By The Legatum Institute [Www.Li.Com] As Part Of Its British And American Notions Of Liberty Programme, In The Year Of The Diamond Jubilee Of Her Majesty Queen Elizabeth Ii. First Performance On 21St April 2013 In Washington National Cathedral, By The City Choir Of Washington Conducted By Robert Shafer. The Three Hymns Of George Herbert Were Written After A Long Illness, And Represent For Me A Hymn Of Thanksgiving To God For A Relative Return To Health. They Are Intended To Be Sung In A Large, Resonant Acoustic, With The Main Choir And String Orchestra At One EndOf The Building, And An Echo Choir And String Quartet At The Other. The Percussion (Tubular Bells, Gongs And Tam-Tams) Should Sound From A Gallery Or Other Raised Position. The Hymns Were Inspired By The Transparent Poetry Of George Herbert, And Are Dedicated In Gratitude And Love To The Memory Of Mother Thekla, Former Abbess Of The Orthodox Monastery Of The Assumption, Normanby, Near Whitby, Who Died In 2011. - John Tavener.
SKU: B9.780-FS
9 x 12 inches. Libretto: Mark Campbell and Kimberly Reed.
Libretto: Mark Campbell and Kimberly Reed
SKU: HL.49015546
ISBN 9781423421009. 9.0x12.0x0.066 inches.
A quartet of paintings by the American Mark Tobey that displays expanses of white in various shades provides the inspiration for this solo piano work. The images from the paintings are translated into music that plays off static and dynamic forces, interweaving with sounds reminiscent of a Javanese gamelan.
SKU: PR.11641373L
UPC: 680160680337.
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.
SKU: IS.C7288EM
ISBN 9790365072880.
American composer and woodwind performer Mike Curtis is equally comfortable in classical, jazz, and ethnic settings. He has toured the world as a klezmer clarinetist, played bassoon with symphonies and opera companies, and recorded on sax with jazz greats Charlie Rouse and Anthony Braxton. His compositions show the influence of those experiences and more. A Week in Plasencia was written following Mike’s 2015 trip to the International Clarinet Association festival in Madrid. After a week in the City that Never Sleeps, Mike sought an unknown, tranquil, provincial alternative. Sunny Plasencia, a riverside town at the foot of the Sierra de Gredos, came to reveal itself as a magical font of beauty, history, and inspiration. This piece exists in two versions, for solo clarinet and clarinet quartet. This product page listing is for the Solo Clarinet version.
SKU: BT.1239-05-070-MS
9x12 inches. English-German-French-Dutch.
The English female pop/rock singer Joss Stone, who was born in 1987, grew up with American soul and R&B music. Stone's impressive style of singing has depth and conveys emotion. Her unique phrasing and large voice make us forget how young this singer actually is. She embraced the opportunity to record the soul song I've Fallen in Love with You, originally performed in the 1960s by the Memphis Queen Carla Thomas. Peter Kleine Schaars has taken this beautiful song and created an arrangement for five-part flexible ensemble.Het soulnummer I've Fallen in Love with You van ‘Memphis Queen' Carla Thomas is weer helemaal actueel in de vertolking van de jonge Engelse pop/rockzangeres Joss Stone. Peter Kleine Schaars heeft van deze mooie song een arrangement voor vijfstemmige variabele bezetting geschreven. I’ve Fallen in Love with You, ein Soulklassiker aus den sechziger Jahren von Carla Thomas, ist die der Interpretation des englischen Stimmwunders Joss Stone ein topaktueller Hit. Peter Kleine Schaars reagierte schnell und machte dieses wunderschöne Lied für eine variable fünfstimmige Bläserbesetzung spielbar. Part 1 Fl Ob Kl B S-Sax Trp Part 2 Fl Kl B Alt-Kl A-Sax Trp Hrn Part 3 Alt-Kl T-Sax Fg Hrn Pos Euph Part 4 T-Sax Fg Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba Kb Opt. Drum I’ve Fallen in Love with You è un classico della musica soul degli anni ’60. La canzone è divenuta un successo nell’interpretazione di Joss Stone. Peter Kleine Schaars ha arrangiato questa splendida melodia per ensemble a strumentazione variabile a cinue voci.
SKU: SU.50023670
This piece is designed to accommodate both the standard Bb-F American horns and the French models (with third valve ASCENDING).Copyright 1987. Published by: Seesaw Music.
SKU: HL.40468
UPC: 884088290672. 8.5x11 inches.
Contemporary adaptations of familiar American songs about travel, the gold rush, Underground Railroad, and baseball serve as springboards for musical explorations--delighting in the sonorities, the colors, and the humor latent in the tunes. The movement &ldquo.
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