By Lowell Liebermann. Arranged by Laren Stover. Text: Laren Stover. For Soprano,...(+)
By Lowell Liebermann.
Arranged by Laren Stover.
Text: Laren Stover. For
Soprano, Baritone, Piano
4-Hands. Premiered
January 15, 1997 by the
New York Festival of Song
Christine Goerke,
soprano; William Sharp,
baritone, Steven Blier
and Michael Barrett,
pianos Weill Recital
Hall, New York City.
Classical. Performance
score. Composed 1996.
Opus 54. 46 pages.
Duration 18:30. Published
by Theodore Presser
Company.
(Music by J. C. Bach, Beethoven, Brahms, Dvorák, and Mozart). Edited by Gayle...(+)
(Music by J. C. Bach,
Beethoven, Brahms,
Dvorák, and
Mozart). Edited by Gayle
Kowalchyk and E. L.
Lancaster.
For Piano. Book; Duet or
Duo;
Graded Standard
Repertoire;
Masterworks; Piano Duet
(1
Piano, 4 Hands). Alfred
Masterwork Edition:
Essential
Keyboard Repertoire.
Masterwork; Recital.
Advanced;
Early Advanced. 170
pages.
Published by Alfred Music
Publishing
Composed by Sergei Rachmaninoff (1873-1943). Arranged by Ralph Sauer. Russian 20...(+)
Composed by Sergei
Rachmaninoff (1873-1943).
Arranged by Ralph Sauer.
Russian 20th century.
Solo part and piano
accompaniment. Published
by Cherry Classics
(CY.CC2617).
In F-Sharp Major for Violin and Viola Autograph Manuscript. Composed by Nico...(+)
In F-Sharp Major for
Violin
and Viola Autograph
Manuscript. Composed by
Nicolo
Paganini. Edited by Italo
Vescovo. String Ensemble.
Classical. Softcover.
Ricordi
#NR14246400. Published by
Ricordi
Double Bass and Piano Reduction. Composed by Serge Koussevitzky (1874-1951). ...(+)
Double Bass and Piano
Reduction. Composed by
Serge
Koussevitzky (1874-1951).
Edited by ckler and
Tobias
Glö. Henle Music Folios.
Classical. Softcover. 88
pages. G. Henle #HN1451.
Published by G. Henle
Double Bass and Piano - Grade 2.5 SKU: AP.36-52740602 Composed by Lynne L...(+)
Double Bass and Piano -
Grade 2.5
SKU:
AP.36-52740602
Composed by Lynne Latham.
Arranged by Thom Sharp.
This edition: Latham
Music. Double Bass with
Piano. LudwigMasters -
Latham Music. Book.
Latham Music Enterprises
#36-52740602. Published
by Latham Music
Enterprises
(AP.36-52740602).
ISBN
9781429126281. UPC:
679360617915.
English.
This
volume continues the
development of playing
skills found in Book 1
and progresses to more
complex rhythms,
left-hand finger patterns
and techniques, bowing
techniques, and
preparation for shifting.
Book 2 introduces
students to: long and
controlled bow strokes,
slurred legato and
staccato bow strokes,
string-crossing slurs,
and producing dynamic
contrasts; new rhythmic
patterns including dotted
notes, triplets,
sixteenth notes, swinging
eighth notes, and
syncopated rhythms; new
time signatures including
6/8 and 3/8, along with
cut time for cello/bass;
and major and minor
left-hand string
patterns, extended
fingerings, and beginning
octave harmonics and
shifting. Online audio
available.
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.
Double Bass and Piano - Grade 1.5 SKU: AP.36-52740598 Composed by Lynne L...(+)
Double Bass and Piano -
Grade 1.5
SKU:
AP.36-52740598
Composed by Lynne Latham.
Arranged by Thom Sharp.
This edition: Latham
Music. Double Bass with
Piano. LudwigMasters -
Latham Music. Book.
Latham Music Enterprises
#36-52740598. Published
by Latham Music
Enterprises
(AP.36-52740598).
ISBN
9781429126137. UPC:
679360617403.
English.
Volume 1
begins with open strings
and basic notation,
rhythms, and bowing
skills. New notes,
notation, and bowing
skills are added in
logical progression,
reinforcing both right-
and left-hand technique
and developing the
cognition for string
performance. This book
introduces students to:
the basic major and minor
tetrachords on all four
strings; essential
rhythmic notation from
whole notes through
eighth-note patterns;
left-hand techniques such
as easily played double
stops, left-hand
pizzicato,
differentiating whole and
half steps; and a variety
of bow techniques. Audio
available online.
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.
By Sergei Rachmaninoff (1873-1943). Collection and performance CD for piano four...(+)
By Sergei Rachmaninoff
(1873-1943). Collection
and performance CD for
piano four-hands. Series:
Alfred's Classic
Editions. 132 pages.
Published by Alfred
Publishing.
Oboe and Harp Harp Accompaniment; Oboe SKU: HL.49033108 10 pieces for ...(+)
Oboe and Harp Harp
Accompaniment; Oboe
SKU: HL.49033108
10 pieces for oboe
(doubling oboe d'amore
and cor anglais) and
harp. Composed by
Heinz Holliger. Edition
Schott. Classical. 144
pages. Duration 1200
seconds. Schott Music
#ED9467. Published by
Schott Music
(HL.49033108).
UPC:
841886029491.
9.0x12.0x0.41
inches.
This
collection contains
musical birthday
greetings to composers
and instrumentalists who
are close friends of
Heinz Holliger. The very
different pieces were
created over a period of
15 years for the duo
Ursula and Heinz
Holliger. Among the
recipients of these
birthday compositions
were Elliott Carter,
Pierre Boulez, Robert
Suter, Gyorgy Kurtag,
Emile Cassagnaud, and
Maria Teresa Cerocchi,
among others. 10 pieces
for oboe (doubling oboe
d'amore and cor anglais)
(individual pieces also
for flute/alto flute,
clarinet,
soprano/alto/tenor
saxophone and harp).
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced fl...(+)
For Guitar. 1-2-3
Fingerstyle Guitar is
designed for intermediate
to advanced flat-pick
players who are ready to
throw down that pick for
a while to finally get a
handle on fingerstyle.
That's the secret
ingredient of this study
program -- its a
beginning fingerstyle.
DVD. Published by eMedia
Music
with a Critical Commentary in English. By Johann Sebastian Bach. Edited by Davit...(+)
with a Critical
Commentary in English. By
Johann Sebastian Bach.
Edited by Davitt Moroney.
Piano (Harpsichord),
2-hands. Pages: XI and
124. Urtext edition
without fingering-paper
bound. Published by G.
Henle.
Art of the Fugue BWV 1080 (Study Score). By Johann Sebastian Bach (1685-1750). E...(+)
Art of the Fugue BWV 1080
(Study Score). By Johann
Sebastian Bach
(1685-1750). Edited by
Davitt Moroney. Study
Score. STUDY EDITION.
Henle Study Scores.
Pages: XI and 124.
Softcover. 136 pages. G.
Henle #HN9423. Published
by G. Henle
Organ SKU: HL.14034957 Composed by Finn Videro. Music Sales America. Clas...(+)
Organ
SKU:
HL.14034957
Composed
by Finn Videro. Music
Sales America. Classical,
Instruction, Technique.
Book [Softcover]. 136
pages. Edition Wilhelm
Hansen #WH24091.
Published by Edition
Wilhelm Hansen
(HL.14034957).
ISBN
9788774552475.
12.25x8.25x0.7 inches.
English.
Includes
works by Bach, Buxtehude,
Couperin, Pachelbel.
Exercises and short
pieces for the
improvement of overall
technique.
In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche...(+)
In All Major and Minor
Keys.
Composed by J. B. Albert.
Edited by Julie DeRoche.
Book.
With Standard notation.
32
pages. Carl Fischer Music
#O99X. Published by Carl
Fischer Music
Clarinet and Piano (Clarinet) SKU: HL.14023891 By Colin Bradbury. By Char...(+)
Clarinet and Piano
(Clarinet)
SKU:
HL.14023891
By Colin
Bradbury. By Charles
Oberthur. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. Chester Music
#CH55214. Published by
Chester Music
(HL.14023891).
This nocturne
was one of a set of six
composed for the second
wedding of the Duke of
Nassau, which were
published simultaneously
as sets of duos or solo
pieces for Violin, Cello,
clarinet or concertina
with harp or
Pianoaccompaniment.
Charles Oberthur was a
celebrated harpist during
his long career in the
1800's, most of which he
spent in Britain. Besides
being a distinguished
instrumentalist, Oberthur
was a prolific composer,
creating morethan two
hundred works.
Choral (SATB Choir) SKU: HL.48022495 SATB and Harp or Piano, New Editi...(+)
Choral (SATB Choir)
SKU: HL.48022495
SATB and Harp or
Piano, New Edition.
Composed by Benjamin
Britten. Boosey & Hawkes
Sacred Choral. Classical.
Octavo. 12 pages. Boosey
& Hawkes #M051481583.
Published by Boosey &
Hawkes (HL.48022495).
ISBN 9781476871486.
UPC: 884088669676.
6.75x10.5
inches.
Texts:
Latin and
English
Publisher:
Boosey &
Hawkes
Difficulty
level: 3
The
Ceremony of Carols is
one of Britten's
best-known and
most-performed works. It
is a brilliantly
conceived and dramatic
concert work which sees
the voices process to
their places singing
unaccompanied plainsong
and, at the end,
processing out again to
the same chant. These
movements can also be
accompanied but strictly
only if the voices do not
process. The final
Alleluia can be repeated
as many times as
necessary to get the
singers to and from their
destination.The carols
are for three-part
children's voices
(though, of course they
can be sung by female
adults as well) and they
form a two-part work
around a central
Interlude for harp which
is based on the plainsong
from the Procession.
Variety is the key word
here as all the carols
have such individual
identities. The
forthright Wolcum Yole!,
the deliciously lyrical
There is no Rose, the
swinging Balulalow, the
fiery and dramatic This
little Babe all
contribute to a work
which is a feast of
discovery throughout.
Lovely solos and duos add
further colour and the
harp part, an inspired
choice of accompaniment,
enriches, colours and
surrounds the voices with
its pictorial musical
imagery. If anything
shows Britten's genius
for writing for voices it
must be this
work.
The
challenges here are in
creating a real equality
between voice parts,
fielding a confident pair
of soloists, and making
the most of the
wonderfully colourful
poems Britten has chosen
to set. Pronunciation is
not really an issue, but
when I recorded this work
with the Finzi Singers I
decided to follow the
example of Sacred and
Profane and use authentic
medieval pronunciation
for which an expert coach
was necessary. It brings
an added element of
colour to a familiar
aural
experience.
(A Technical Guitar Method and Introduction to Music). By Juan Serrano and Corey...(+)
(A Technical Guitar
Method and Introduction
to Music). By Juan
Serrano and Corey
Whithead. For Guitar
(Classical). Methods.
Flamenco. Multiple
Levels. Book. 176 pages.
Published by Mel Bay
Publications, Inc
Percussion and
Orchestra Score.
Composed by Per Nø,
Per Norgard, rd, and
rgå. Music Sales
America. Classical. Set.
134 pages. Duration 1200
seconds. Edition Wilhelm
Hansen #KP00615.
Published by Edition
Wilhelm Hansen
(HL.14003062).
ISBN
9788759870075.
12.0x16.5x0.7 inches.
Danish.
Per Norgard
BACH TO THE FUTUREFor
many years I have been
specially fascinated by
three of the preludes of
Bach's Well-tempered
Piano, and I wish with
this concerto-version for
percussion-duo and
orchestra to highlight
some of the structural
aspects of these pieces:
It is my belief that
there is a tradition in
the music history, that
makes it possible to let
certain germs in an
earlier period unfold
into new, but not
heterogenious, dimensions
of a perhaps several
hundred years later phase
of the tradition.This
concerto is a result of
several years
collaboration with Uffe
Savery and Morten Friis
(Safri-Duo), as well in
original compositions -
(Resonances,
Repercussion, Resume in
EchoZone I-III) as in
arrangements of the 3
Bach preludes, preparing
for the enormous
stylistic challenges of
this work.A few
introductory comments to
each movement:I Movement:
The archetypal sequence
of broken chords within
C-major has established
itself as almost a
cultural code, allowing
the composer of 1996 to
tell his tale-in-tones
only by stressing and
colouring the tones in
the original piece
without changing the
pitches or (relative)
durations as a
'palimpsest' containing
as well the old as the
new musical tale
simultaneously. Later in
the movement, this
singleline is multiplied
by the, till then
discrete, but permanently
pervading, proportion -
throughout the piece -
very close to the 'Golden
Section'(= 3:5:8.t.i:8
before repetition, 5
before starting anew from
the deepest tone, 3 as
the rest etc. unchanged).
The 3 tonal levels as
well as the 3 relative
speeds are treated
according to these
proportions for certain
passages, but even in
those the main focal
point is directed at the
freely invented melody
(by me) incarnating
itself solely by the
unpermutad sequels of the
original prelude.II
Movement: One feature of
the F sharp-prelude
pervades all the six
minutes-long second
movement: A 4 times
identical rhythmic
pattern = 6:4:3:2:3:4:6 -
as an hourglass-shaped
timeshape - inspired me
by the closeness of this
pattern to a shape within
the infinity-drumming of
my invention, called
Wide-Fan and Narrow-Fan ,
referring to pattern
consisting of
8:4:2:1:2:4:8, the
familiarity with the
above - quoted one being
obvious. New and old
elaborations of this
pattern-pair permeates
the movement, especially
since the Safri-Duo by
their performance of my
Repercussion had
augmented my appetite for
including this idiom in a
wider context:III
Movement: Without the
existence of the
d-minor-prelude I doubt
that I would have dared
to write a work like
this, since it is the
inexhaustible, rare
quality and pecularity of
this piece, which has
stimulated my feeling of
wonder and 'modernity'
(or: eternity!) of this
piece, of which I know of
no equal in its special
respect: the perpetual
ambiguity of melodic
foothold in the rhythmic
ostinato of a broken
descending triad, co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.