Chamber Music Violin, cello, Piano

SKU: PR.11441825S

Composed by Stacy Garrop. Contemporary. Score. With Standard notation. Composed 2013. 40 pages. Duration 23 minutes. Theodore Presser Company #114-41825S. Published by Theodore Presser Company (PR.11441825S).

UPC: 680160643745. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.

Chamber Music Violin, cello, Piano

SKU: PR.114418250

Composed by Stacy Garrop. Contemporary. Set of Score and Parts. With Standard notation. Composed 2013. 40+16+16 pages. Duration 23 minutes. Theodore Presser Company #114-41825. Published by Theodore Presser Company (PR.114418250).

UPC: 680160640959. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.

Various (1 to x players, sitting, synchronous or choreographed, 1 table, 1 crotale (c#3) ad lib.)

SKU: BR.EB-9367

For Hands/Fingers and Feet. Composed by Nicolaus A. Huber. Stapled. Edition Breitkopf. World premiere: Odessa, June 24, 2019 (Michael Murphy (perc))ambig can be played on its own or together with Clash Music (EB 9054) and/or can be performed with the text of rappig (in EB 9367). New music (post-2000); Music post-1945. Score. Composed 2019. 8 pages. Duration 6'. Breitkopf and Haertel #EB 9367. Published by Breitkopf and Haertel (BR.EB-9367).

ISBN 9790004188378. 10 x 12.5 inches.

I got the word ambig[uous] from Thomas Bauer: Die Vereindeutigung der Welt (Stuttgart: Reclam 2018). In this booklet, the author speaks out against a restrictive, perhaps even limited unambiguity and sets fundamentaism against cultures of ambiguity. Born out of the duality of the human body, I work in this piece with two hands, two fingers, two feet and the combinations of sound and touch developed from them. Only at the end, a new (double or single) sound is added. This does not at all correspond to a cohesive concept of material, just as the use of our body limbs in reverse is deliberately very close to the subject, even when several performers play synchronously or choreographed. In Schnebel's case, this was still material available to everyone. I think of it more as a counter to VR (virtual reality). I do like to still be able to open my refrigerator with my own hand, and not have a hacker interfering. In Clash Music, a pair of cymbals, the proletarians of many kinds of music, is elevated to an instrument capable of expression and structure. Clash Music and ambig ought to be played together as one piece - rather RV than VR! Added as a third piece can be rappig (25 seconds, see page IV). Any possible combination of two or three pieces can be selected. (Nicolaus A. Huber, 2019)On the audio sample Luk Wolf performs the text of rappig.

World premiere: Odessa, June 24, 2019 (Michael Murphy (perc))ambig can be played on its own or together with Clash Music (EB 9054) and/or can be performed with the text of rappig (in EB 9367).