SKU: SU.46200050

Clarinet, Violin & Piano Duration: 10' Composed: 2001 Published by: Verdehr Trio Every measure of Collage – 1912 is based on one or more snippets taken from one composition each by Béla Bartók, Irving Berlin, Claude Debussy, W.C. Handy, Charles Ives, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, James Scott, Richard Strauss, Igor Stravinsky, and Joaquín Turina. The work is about 12 minutes long and consists of two parts that are performed without pause. Michigan State University Press.

SKU: SU.27160490

Clarinet, Violin, Cello & Piano Duration: 12'20 Composed: 2005 Published by: C. Swigart Music.

SKU: SU.91770780

Instrumentation : Violin, Viola, Violoncello & Piano
Duration: 20' '
Composed: 2012
Published by: Subito Music Publishing.

SKU: HL.50601259

SKU: HL.358937

ISBN 9781705139059. UPC: 840126944471. 9.0x12.0x0.201 inches.

Contents: Epithalam (Liszt); Hejre Kati, Waves of Balaton, Zephyr Op. 30/5 (Hubay); Caprices Nos. 1-2 (Vecsey).

SKU: HL.49047324

ISBN 9798350121971. UPC: 196288201410.

SKU: HL.337523

ISBN 9781540087515. UPC: 840126911848.

SKU: BT.WH32499

ISBN 9788759835494. English.

This is the Solo Piano part for Double Concerto for Violin, Piano and String Orchestra by Hans Abrahamsen .

SKU: SU.46200100

Clarinet, Violin & Piano Composed: 1986 Published by: Verdehr Trio This publication contains four separate works written by James Niblock for the acclaimed Verdehr Trio. Il Penseroso e Allegro Paganiniana Palindrome MSU Fight Song

SKU: SU.46200070

Clarinet, Violin & Piano Duration: 5 ' Composed: 1990 Published by: Verdehr Trio Commissioned to have an nineteenth-century flavor, Hoag chose for this work to reach back to the uniquely American perspective of the rag. Michigan State University Press.

SKU: SU.46200090

Clarinet, Violin & Piano Duration: 22' Composed: 1988 Published by: Verdehr Trio Tripartita is a title invented for this score, a piece in three movements for three players. The first movement Elaborations is a sonata-like structure whose ideas evolve out of the harmonic succession heard as the background material of the opening passage. The second and third movements are based on essentially the same scalar and harmonic materials as the first; however, they are somewhat different in their moods and expression, in part because they both incorporate elements derived from popular music idioms of the early part of the twentieth century. The form of the second movement, Dances,is related to the nineteenth century scherzo with two trios; here, the scherzo sections are fast and jazzy,while the more relaxed digressions are, respectively, a ragtime-waltz and a tango. The third movement Blues with Variations follows without pause, and furthermore is linked structurally to the previous movements, since the chord sequence for the blues (and subsequent variations) is the same one employed from the very opening of the work. —William Averitt.