SKU: MA.EMR-26382

I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.

SKU: MA.EMR-26377

I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.

SKU: MA.EMR-26357

I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.

SKU: TE.TEP10571

SKU: MA.EMR-26387

I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.

SKU: PR.11441123S

UPC: 680160016303. 8.5 x 11 inches.

The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.

SKU: HL.8772681

UPC: 649325022627. 8.5x11.0x0.082 inches.

SKU: BT.PMC3933

A short work that, in the composer's words, Lives in the world between maqam (Arabic modes) and gentle counterpoint. All parts are written within the singing range of the human voice. Intermediate Level.

SKU: HL.14008374

ISBN 9781846096150. UPC: 884088435202. 8.25x11.75x0.105 inches.

The Full Score for Peter Maxwell Davies' fourth in a series of ten string quartets commissioned by the Naxos Recording company, first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace, Oslo, Norway, as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004, with the intention of producing something lighter and much less fierce than its predecessor, an unpremeditated and spontaneous reaction to the illegal invasion of Iraq. I returned to the well-known Brueghel picture of children's games (1560, now in Vienna), which had been the inspiration for my sixth Strathclyde Concerto, for flute and orchestra. These illustrations liberated my musical imagination, but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of the work. Suffice it to say that there is vigorous play - leap-frog, bind the devil with a cord, truss, wrestling - alongside quieter pastimes - masks, guess whom I shall choose, courting, odds and evens. The single movement juxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture, taking liberties which would never be present in, for instance, Brunelleschi architectural drawings, so here, with a constant sequence of transformation processes, I have distorted the neat, precise implications of modal progression, expressed in the unison opening phrase (from F to B through A sharp/B flat), so that the ear is led, en route, into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that I was reading into, and behind the games, adult motives and implications, concerning aggression and war, with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B progression underlying the whole construction derives from a passage in the development of the first movement of Mahler's Third Symphony, and the opening of Schoenberg's Second String Quartet. However, unlike in these models, here a real - if temporary - sense of resolution occurs at the close of the quartet: as when the curtain falls on the reconciled Count and Countess in 'Figaro' one wonders how long the F/B truce will hold, and games break out again. The quartet is dedicated to Giuseppe Rebecchini, Roman architect, and friend since the nineteen-fifties.