Trio Piano Trio: piano, violon, violoncelle [Conducteur et Parties séparées] Carl Fischer
For Violin, Cello, and Piano - Full Score and Parts. By Martin Bresnick. String ...(+)
For Violin, Cello, and
Piano - Full Score and
Parts. By Martin
Bresnick. String trio.
For Violin, Cello, Piano.
Carl Fischer Chamber
Music Edition. Score and
parts. 31 pages.
Published by Carl
Fischer.
Piano Trio: piano, violon, violoncelle [Set de Parties séparées] Carl Fischer
(Fourteen Selected Trio Arrangements) Compiled by W. F. Ambrosio. Set of perform...(+)
(Fourteen Selected Trio
Arrangements) Compiled by
W. F. Ambrosio. Set of
performance parts for
violin, cello and piano.
With bowings and
fingerings. 105 pages.
Published by Carl
Fischer.
Russian Rag Piano Trio: piano, violon, violoncelle Bote and Bock
Score and Parts Piano Trio (Score & Parts) SKU: HL.48025074 For Piano ...(+)
Score and Parts Piano
Trio (Score & Parts)
SKU: HL.48025074
For Piano Trio Score
and Parts. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 16 pages.
Duration 180 seconds.
Bote & Bock #M202536179.
Published by Bote & Bock
(HL.48025074).
ISBN
9783793143147. UPC:
196288059721.
9.0x12.0x0.061
inches.
Russian Rag
is one of Elena
Kats-Chernins most famous
pieces. It was arranged
by her for various
instrumentations and was
used, among other things,
as film music in the clay
animation film Mary &
Max. The composer herself
says: Ragtimes are such
fun to write and they
have a somewhat dark
melancholy. Russian music
often has a melancholic
quality, and I was
brought up on Rachmaninov
and Tchaikovsky,
Prokofiev and
Shostakovich. I rarely
write in major keys it
seems and Russian Rag is
no exception, however it
concludesoptimistically
on a major chord..
Score and Parts Piano Trio (Score & Parts) SKU: HL.48025075 For Piano ...(+)
Score and Parts Piano
Trio (Score & Parts)
SKU: HL.48025075
For Piano Trio Score
and Parts. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 12 pages.
Duration 120 seconds.
Bote & Bock #M202536186.
Published by Bote & Bock
(HL.48025075).
ISBN
9783793143154. UPC:
196288059738.
9.0x12.0x0.055
inches.
Tangos,
like ragtimes and
waltzes, are an integral
part of Elena
Kats-Chernin's music,
always in a new and
varied form. In it, the
composer allusively
combines her present time
with the classical
tradition and high art
with light music. Slicked
Back Tango was originally
written in 1995 for piano
four hands, the present
version in 2002 for the
Australian Streeton Trio.
This tango harks back to
the time of silent
movies. I was thinking of
the 1920s and film star
Rudolph Valentino. The
title refers to his
hairstyle, says
Kats-Chernin.
Butterflying Piano Trio: piano, violon, violoncelle Bote and Bock
Score and Parts Piano Trio (Score & Parts) SKU: HL.48025076 For Piano ...(+)
Score and Parts Piano
Trio (Score & Parts)
SKU: HL.48025076
For Piano Trio Score
and Parts. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 28 pages.
Duration 240 seconds.
Bote & Bock #M202536216.
Published by Bote & Bock
(HL.48025076).
ISBN
9783793143185. UPC:
196288059745.
9.0x12.0x0.124
inches.
Composer's
note: Originally a song
for children about flying
in ones dreams, this
lyrical piece tries never
to touch the ground. The
work was used in the
Rugby 2003 World Cup
opening ceremony in a
version for full
orchestra. The original
text by Christopher
Latham refers to
afanciful and
exhilarating fight..
Score and Parts Piano Trio (Score & Parts) SKU: HL.48025073 For Piano ...(+)
Score and Parts Piano
Trio (Score & Parts)
SKU: HL.48025073
For Piano Trio Score
and Parts. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 20 pages.
Duration 180 seconds.
Bote & Bock #M202536155.
Published by Bote & Bock
(HL.48025073).
ISBN
9783793143123. UPC:
196288059714.
9.0x12.0x0.079
inches.
Composer's
note: In 2000 I wrote a
piece called Sand Waltz
for the Canberra Wind
Players. In the middle of
it I wrote a four-chord
progression. WhenI
started working on the
ballet Wild Swans (2003)
I came back to this
material and it became
something that I grew to
rather like. Eventually
it became the basis for
the overture to the whole
ballet. It had somewhat
dreamy quality but also a
sense of anticipationand
mystery. Later, when
writing this as the first
movement of the Concert
Suite Wild Swans I gave
it a title Green Leaf as
it refected the way the
princess Eliza was making
a hole in a green leaf to
look through it,
imagining far-away exotic
lands and birds..