SATB choir SKU: ST.EM28 Composed by Henry Youll. Edited by Edmund H Fello...(+)
SATB choir
SKU:
ST.EM28
Composed by
Henry Youll. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Note:
Print on demand.
Spiral-bound A4.
Madrigals. Collection.
Stainer & Bell Ltd.
#EM28. Published by
Stainer & Bell Ltd.
(ST.EM28).
ISBN
9790220218798.
CONT
ENTS Awake, sweet
love (SSA (or T)) But
behold where they return
(SST) But though poor
sheep (SST) Cease,
restless thoughts
(SST) Come, love,
let's walk (SSA (or
T)) Come, merry lads,
let us away (SSA)
Each day of thine
(SST) Early before
the day doth spring
(SSA) In the merry
month of May (SSA) In
pleasant summer's morning
(SST) In yonder dale
(SST (or A)) Now the
country lasses hie them
(SSB (or T)) Of sweet
and dainty flowers
(SAT) Once I thought
to die for love (SST)
Only joy, now here you
are (SST) Pipe,
shepherds, pipe (SSB (or
T)) Pity me, mine own
sweet jewel (SST)
Say, shepherd, say
(SST) See where this
nymph (SSA (or T))
Slow, slow, fresh fount
(SST) Sweet Phyllis,
stay (SST) The
shepherd's daughters
(SST) Where are now
those jolly swains?
(SSB) Whiles joyful
springtime lasteth
(SST).
Edited by David Brody. For violin. Format: fake book. With lead melody, chord na...(+)
Edited by David Brody.
For violin. Format: fake
book. With lead melody,
chord names,
instructional text and
performance notes. Folk,
americana and british.
302 pages. 9x12 inches.
Published by Oak
Publications.
Solo flute - Difficulty: medium SKU: AP.SB90 Arranged by Anne McGinty. Wo...(+)
Solo flute - Difficulty:
medium
SKU:
AP.SB90
Arranged by
Anne McGinty. Woodwind -
Flute Method or
Collection. Irish. Solo
flute songbook. 48 pages.
Alfred Music #00-SB90.
Published by Alfred Music
(AP.SB90).
ISBN
9780769221311. UPC:
029156185300. 9x12
inches.
English.
Edited
especially for flute
players. May be used as
supplementary etudes or
just for fun.
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord
SKU: PR.110418390
Composed by Eric Ewazen.
Full score. 11 pages.
Duration 10 minutes.
Theodore Presser Company
#110-41839. Published by
Theodore Presser Company
(PR.110418390).
ISBN
9781491134603. UPC:
680160685158.
Eric
Ewazen’s THREE
INVENTIONS were inspired
by Bach’s Two-part
Inventions, yet they
sound thoroughly like
Ewazen. Composed for
harpsichord (with a piano
adaptation following
later), Ewazen’s
inventions maintain a
pure “one note per
hand†texture until
their final chord, with
strong-but-free imitative
counterpoint between the
two voices. While Ewazen
may be best known for his
wind music, he is a
pianist himself, and
composers’ works
for their own instrument
are a direct insight into
how they write for their
own performances. The
piano adaptation of THREE
INVENTIONS is also
available as a separate
publication. THREE
INVENTIONS was written
for my dear friend Maria
Rojas, who premiered the
work on a faculty recital
at Juilliard. Maria is
both a pianist and a
harpsichordist, and I
first met her when she
gave a demonstration of
the harpsichord for the
students in my theory
classes.I’ve
always been captivated by
Bach’s series of
Two-Part and Three-Part
Inventions. With the
Two-Part Inventions,
I’m amazed how
Bach could create such
wonderful intricacy and
counterpoint with only
two voices. I
consequently modeled my
inventions after the
counterpoint of Bach,
involving the traditional
contrapuntal devices he
used: imitation,
development, harmonic and
modal shifts,
fragmentation, and
sequence, essentially
creating a dialog between
two completely equal
voices conversing with
each other!Bach wrote 15
Two-Part Inventions (as
well as 15 Three-Part
Inventions, not to
mention the 48 preludes
and fugues in The
Well-Tempered Clavier!),
and that’s just
the start of his
voluminous repertoire for
the keyboard! I was happy
just to write
three!!!Each of my
inventions has a
distinctive mood. The
first is in a relaxed,
yet cheerful C Major
tonality (as a nod to
Bach’s Invention
No. 1 in C Major); the
second is heartfelt and
lyrical; and the third
invention (involving a
Gigue rhythm in the
compound meter of 12/8)
is energetic, and full of
life and spontaneity. The
third is primarily in a
minor tonality, resulting
in a feeling of drama,
bringing the THREE
INVENTIONS to an exciting
finale.
Mezzo-Soprano & Piano SKU: SU.32040040 For Mezzo-Soprano & Piano. ...(+)
Mezzo-Soprano & Piano
SKU: SU.32040040
For Mezzo-Soprano &
Piano. Composed by
Amy Riebs Mills.
Vocal/Choral, Solo Voice.
Accompanied by piano.
Piano Vocal Score. Subito
Music Corporation
#32040040. Published by
Subito Music Corporation
(SU.32040040).
Mezzo-Soprano &
Piano Duration: 17'
Composed: 2014 Published
by: Amy Mills Music, LLC
These three art songs can
be performed
independently or in
sequence, at any time of
the year. Stuart
McAlpine’s
profound text explores
three men from the
Christmas story, Joseph,
the Inn-keeper, and
Simeon. The creative and
beautiful musical
settings allow for
powerfully dramatic
interpretation and
performance. To Joseph
(who taught me how to
look at art) The singer
sings to Joseph,
…you beheld a work
of art, the making of a
holy heart… and
watching through
Joseph’s eyes,
when hung at last, its
meaning was decreed.
(4:40) The
Inn-keeper’s
Lament McAlpine
brilliantly explores the
possibility…what if
the inn-keeper who turned
away Mary & Joseph later
became the inn-keeper who
accepted the injured man
brought in by the Good
Samaritan? This
powerfully dramatic piece
depicts the Bethlehem
inn-keeper’s
bravado, Caeser’s
decree was heaven sent,
as guests raised glasses,
I raised rent! But as the
enormity of his mistake
became apparent, in later
years he bemoans,
…if I’d
known then what I know
now… and finally
declares at the end, I
know now! (7:50)
Simeon’s Last
Prayer Simeon sings of
being summoned to the
temple where he holds his
infant Savior.
…then as
grandfathers do, rejoiced
as if he were my
one-and-only too. As he
leaves he whispers his
final prayer,
…dismiss your
servant, to find You
face-to-face. (4:30)
Difficulty Level:
Baritone/Mezzo-Soprano 6
(Professional) (Baritone
Range: low A (optional
low G) to high F#
(optional high G,A)
(Mezzo Range: low A
(optional low G) to high
G (optional high A) Piano
6 (Professional)(Same
level as Debussy or
Ravel) See also the
version for Baritone
Voice and Piano See
composer website for
audio sample.
Baritone voice & Piano SKU: SU.32040041 For Baritone & Piano. Comp...(+)
Baritone voice & Piano
SKU: SU.32040041
For Baritone &
Piano. Composed by
Amy Riebs Mills.
Vocal/Choral, Solo Voice.
Accompanied by piano.
Piano Vocal Score. Subito
Music Corporation
#32040041. Published by
Subito Music Corporation
(SU.32040041).
Baritone Voice
& Piano Duration: 17'
Composed: 2014 Published
by: Amy Mills Music, LLC
These three art songs can
be performed
independently or in
sequence, at any time of
the year. Stuart
McAlpine’s
profound text explores
three men from the
Christmas story, Joseph,
the Inn-keeper, and
Simeon. The creative and
beautiful musical
settings allow for
powerfully dramatic
interpretation and
performance. To Joseph
(who taught me how to
look at art) The singer
sings to Joseph,
…you beheld a work
of art, the making of a
holy heart… and
watching through
Joseph’s eyes,
when hung at last, its
meaning was decreed.
(4:40) The
Inn-keeper’s
Lament McAlpine
brilliantly explores the
possibility…what if
the inn-keeper who turned
away Mary & Joseph later
became the inn-keeper who
accepted the injured man
brought in by the Good
Samaritan? This
powerfully dramatic piece
depicts the Bethlehem
inn-keeper’s
bravado, Caeser’s
decree was heaven sent,
as guests raised glasses,
I raised rent! But as the
enormity of his mistake
became apparent, in later
years he bemoans,
…if I’d
known then what I know
now… and finally
declares at the end, I
know now! (7:50)
Simeon’s Last
Prayer Simeon sings of
being summoned to the
temple where he holds his
infant Savior.
…then as
grandfathers do, rejoiced
as if he were my
one-and-only too. As he
leaves he whispers his
final prayer,
…dismiss your
servant, to find You
face-to-face. (4:30)
Difficulty Level:
Baritone/Mezzo-Soprano 6
(Professional) (Baritone
Range: low A (optional
low G) to high F#
(optional high G,A)
(Mezzo Range: low A
(optional low G) to high
G (optional high A) Piano
6 (Professional)(Same
level as Debussy or
Ravel) See also the
version for Mezzo-Soprano
and Piano See composer
website for audio
sample.
Complete theoretical and practical method for organ-playing in three parts. Comp...(+)
Complete theoretical and
practical method for
organ-playing in three
parts. Composed by Flor
Peeters. This edition:
Paperback/Soft Cover.
Sheet music. Organ
Collection. 100 pages.
Schott Music #SF 8978.
Published by Schott Music
By Johann Strauss. Arranged by Michael Story. By Johann Strauss / arr. Michael S...(+)
By Johann Strauss.
Arranged by Michael
Story. By Johann Strauss
/ arr. Michael Story. For
Concert Band. Concert
Band. Belwin Very
Beginning Band. Level:
Very Easy (grade 1/2-I).
Conductor Score, Parts
and CD. Duration 1:44.
Published by Alfred
Publishing.
For Flute. Classical (Laureate Master Classes with piano). Includes a high-quali...(+)
For Flute. Classical
(Laureate Master Classes
with piano). Includes a
high-quality printed
music score annotated
with performance
suggestions and a compact
disc with complete
versions (with soloist)
followed by piano
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One.
For Flute. Classical (Laureate Master Classes with piano). Includes a high-quali...(+)
For Flute. Classical
(Laureate Master Classes
with piano). Includes a
high-quality printed
music score annotated
with performance
suggestions and a compact
disc with complete
versions (with soloist)
followed by piano
accompaniments to each
piece, minus the soloist.
Published by Music Minus
One
Irish Songs Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with g...(+)
By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 80 pages.
Published by Hal Leonard.
With Guitar Chords. Composed by Various. Waltons Irish Music Books. Celtic, Iris...(+)
With Guitar Chords.
Composed by Various.
Waltons Irish Music
Books. Celtic, Irish.
Softcover with CD. 112
pages. Waltons Irish
Music #WM1314CD.
Published by Waltons
Irish Music
With Guitar Chords. Composed by Various. Waltons Irish Music Books. Celti...(+)
With Guitar
Chords. Composed by
Various. Waltons Irish
Music Books. Celtic,
Irish. Softcover. 112
pages. Waltons Irish
Music #WM1314. Published
by Waltons Irish Music
(HL.634214).
Irish Reel Book Guitare [Partition + CD] - Facile AMA Verlag
By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish....(+)
By Patrick Steinbach. For
Acoustic Instruments.
Solos. AMA Verlag.
Celtic/Irish. Level:
Beginning-Intermediate.
Book/CD Set. Size
9.x11.75. 180 pages.
Published by AMA Verlag.
ISBN 3899220234.
Written by David Reiner, Peter Anick. For fiddle. Includes fiddle songbook and e...(+)
Written by David Reiner,
Peter Anick. For fiddle.
Includes fiddle songbook
and examples CD. With
standard notation,
bowings, black and white
photos and introductory
text. Folk. 184 pages.
9.25x11.75 inches.
Published by Mel Bay
Publications, Inc.
Fiddle, Violin - Difficulty: medium SKU: HL.235 By Various. Fiddle. Folk....(+)
Fiddle, Violin -
Difficulty: medium
SKU: HL.235
By
Various. Fiddle. Folk.
Solo fiddle songbook.
With performance notes,
introductory text and
standard notation. 96
pages. Published by
Centerstream Publications
(HL.235).
ISBN
9781574240566. UPC:
073999567786. 9x12
inches.
This
comprehensive collection
of fabulous fiddle tunes
includes reels,
hornpipes, strathspeys,
jigs, waltzes and slow
airs.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.