Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Piano Solo. By Various. Piano Solo Songbook (Intermediate to advanced piano arra...(+)
Piano Solo. By Various.
Piano Solo Songbook
(Intermediate to advanced
piano arrangements with
no lyrics). Size 9x12
inches. 128 pages.
Published by Hal Leonard
Corporation.
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For piano. Alfre...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer. For
piano. Alfred's Basic
Adult Piano Course.
Format: instructional
book. With introductory
text, instructional text,
illustrations and
performance notes.
Instructional. 9x12
inches. Published by
Alfred Publishing.
Piano seul [Livre + CD] - Facile Alfred Publishing
Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional b...(+)
Written by Amanda Vick
Lethco, Morton Manus,
Willard A. Palmer.
Instructional book
(spiral bound) and
accompaniment CD for
piano. With introductory
text, instructional text,
standard notation and
fingerings. Series:
Alfred's Basic Adult
Piano Course. 144 pages.
Published by Alfred
Publishing.
For solo piano. Format: piano solo book. Classical period and romantic period. S...(+)
For solo piano. Format:
piano solo book.
Classical period and
romantic period. Series:
The World's Great
Classical Music. 232
pages. 9x12 inches.
Published by Hal Leonard.
Piano Facile [Partition] - Facile Kjos Music Company
Edited by James Bastien. Collection for solo piano. Series: The Bastien Older Be...(+)
Edited by James Bastien.
Collection for solo
piano. Series: The
Bastien Older Beginner
Piano Library. 159 pages.
Published by Neil A. Kjos
Music Company.
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.
Easiest Piano Works by Joseph Haydn. Composed by Franz Joseph Haydn (1732- ...(+)
Easiest Piano Works by
Joseph Haydn. Composed by
Franz Joseph Haydn
(1732-
1809). Edited by Wilhelm
Ohmen. This edition:
Saddle
stitching. Sheet music.
Piano Solo. Classical.
Softcover. 64 pages.
Schott
Music #ED 23051.
Published
by Schott Music
Two Pianos SKU: SU.92102085 For two Pianos. Composed by Jerome Mor...(+)
Two Pianos
SKU:
SU.92102085
For
two Pianos. Composed
by Jerome Moross.
Keyboard, Piano
4-hands/2+ Pianos. Score
& Parts. Subito Music
Corporation #92102085.
Published by Subito Music
Corporation
(SU.92102085).
Two Pianos
Duration: 6' Transcribed
by the composer
Performing Materials: 2
scores Composed: 1941
Published by: Sorom
Editions.
Performed by Ludwig van Beethoven (1770-1827), edited by Blake Neely, Richard Wa...(+)
Performed by Ludwig van
Beethoven (1770-1827),
edited by Blake Neely,
Richard Walters. For solo
piano. Format: piano solo
book. With standard
notation and introductory
text. Classical period
and romantic period. 224
pages. 9x12 inches.
Published by Hal Leonard.
Edited by Amy Appleby. Music Sales America. Baroque and Classical Period. Set of...(+)
Edited by Amy Appleby.
Music Sales America.
Baroque and Classical
Period. Set of
performance parts
(includes separate
pull-out violin part,
softcover). With solo
part and piano
accompaniment (spiral
bound). 237 pages. Music
Sales #AM948882.
Published by Music Sales
By Franz Liszt. Edited by Sauer. For piano. 2 Original Works; 6 Transcriptions(S...(+)
By Franz Liszt. Edited by
Sauer. For piano. 2
Original Works; 6
Transcriptions(Sauer)Sche
rzo and March; Fantasy
and Fugue on B-A-C-H;
Transcriptions of Works
by
Liszt,Meyerbeer,Schubert(
3),Wagner(Tan Overture).
Published by C.F. Peters.
by Costel Puscoiu. For Recorder (Soprano). solos. Classic. Level: Intermediate. ...(+)
by Costel Puscoiu. For
Recorder (Soprano).
solos. Classic. Level:
Intermediate. Book. Size
8.75x11.75. 96 pages.
Published by Mel Bay
Publications, Inc.
Piano - intermediate to difficult SKU: HL.49005422 Composed by Franz Schu...(+)
Piano - intermediate to
difficult
SKU:
HL.49005422
Composed
by Franz Schubert. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. 64 pages.
Schott Music #ED 510.
Published by Schott Music
(HL.49005422).
ISBN
9790001031516.
9.0x12.0x0.231 inches.
Schott Piano
Collection.
Robert Schumann : Scherzo Orchestre à Cordes [Conducteur et Parties séparées] - Facile Kendor Music Inc.
(3rd Movement From Symphony No. 1). Composed by Robert Schumann. Arranged by R...(+)
(3rd Movement From
Symphony
No. 1). Composed by
Robert
Schumann. Arranged by
Robert
Frost. For string
orchestra
(88555) with optional 3rd
violin/viola TC (3
copies) and
piano. Cadet String
Orchestra
Series. Grade 2.5. Score
and
set of parts. Duration 3
minutes, 20 seconds.
Published
by Kendor Music Inc
Organ Solo SKU: AP.36-M234191 Composed by Louis Vierne. Organ. Master Org...(+)
Organ Solo
SKU:
AP.36-M234191
Composed by Louis Vierne.
Organ. Master Organ
Series - LudwigMasters.
Part(s). LudwigMasters
Publications #36-M234191.
Published by
LudwigMasters
Publications
(AP.36-M234191).
ISBN
9798892706698. UPC:
659859051352.
English.
French
organist and composer
Louis Vierne (1870-1937)
was a student of César
Franck and Charles-Marie
Widor and worked as the
organist for Notre-Dame
de Paris from 1900 until
his death, which took
place on the organ bench
at a recital. He composed
many works for organ,
among them six organ
symphonies and a Messe
solennelle for chorus and
two organs. His six
symphonies express the
highs and lows of his
personal life, and all
are written in minor
keys. Vierne's Organ
Symphony No. 2, Op. 20,
is in E minor. Movements:
I. Allegro; II. Choral;
III. Scherzo; IV.
Cantabile; V. Final.
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.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band
SKU:
PR.16500104F
Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F).
ISBN
9781491132159. UPC:
680160681082.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
String Quartet SKU: HL.14036341 Composed by Hugh Wood. Music Sales Americ...(+)
String Quartet
SKU:
HL.14036341
Composed
by Hugh Wood. Music Sales
America. Classical. Set.
Composed 2001. Chester
Music #CH60931. Published
by Chester Music
(HL.14036341).
ISBN
9780711955080.
Comm
issioned by the BBC and
premiered by the
Chilingirian String
Quartet. Quoting Wood: In
my Second and Third
Quartets I attempted
sectional, agglutinative
forms: in my Fourth I
return to the
conventional four
movement form of my First
Quartet of 1962. Both
works build up (as in the
19th century symphony) to
the Finale, thus making
it the most substantial
movement, which provides
a climax to the work. The
First Movement has, in
both works, only the
status of an
Introduction. But there
the consciously willed
resemblances end. This
Introduction follows the
Second Quartet to a
certain extent, in that
it provides a sort of
'cauldron', from which
elements to be used later
can all be plucked. Its
opening will reappear at
various points throughout
the work, most completely
at a climatic point of
the Finale (bar 110).
Subsequent material will
be more fully worked out
in the second movement, a
large Scherzo. The
Introduction concludes
with an unusually placed
violin cadenza (itself a
rare feature in a string
quartet, the idea lifted
from Elliott Carter's
First Quartet) of which
the opening is to
reappear halfway through
the Finale. The Scherzo
(which follows attacca)
does not have at its
centre a discretely
characterized Trio: a
figure in double-stops
like a distant fanfare
supplies the necessary
contrast of a second
idea. The Slow Movement
has a secondary idea
first heard on the cello
and marked appassionato:
an agitato middle section
recalls the opening of
the work, but in a
formulation which will be
found closely to
anticipate its
reappearance in the
Finale. The Finale is
planned on a broad scale.
Only after a fully worked
exposition of both
primary and secondary
material does the opening
of the whole work return,
now in a greatly extended
form. Then, at bar 140,
the tune of the violin
cadenza is first
harmonized in fanfare
style on the upper
instruments, then
presented as a chorale on
the lower ones, with a
rushing semiquaver
accompaniment above. This
climatic activity mounts
to the very end. The work
is dedicated to the
Chilingirian Quartet, old
friends over many years.
Score available
separately: SOS04044.