Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
Three Fantasies Piano seul [Conducteur] Theodore Presser Co.
Chamber Music Piano SKU: PR.110418380 Composed by Carlos Gardels. Full sc...(+)
Chamber Music Piano
SKU: PR.110418380
Composed by Carlos
Gardels. Full score. 12
pages. Duration 8
minutes, 40 seconds.
Theodore Presser Company
#110-41838. Published by
Theodore Presser Company
(PR.110418380).
ISBN
9781491135334. UPC:
680160687497.
THREE
FANTASIES is a
fantastical escape from
reality. The first
fantasy
(“Preludeâ€)
features a luscious and
expressive melody
accompanied by dark,
romantic harmonies. The
following fantasy
(“Cosmic
Lullabyâ€) begins
and ends in a serene and
introspective manner,
with a tumultuous and
harmonically rich middle
section. To end the set,
“Intermezzoâ€
provides reflection and a
lively resolution.
Gardels’ profound
lyricism and masterful
piano writing make this
set enjoyable for any
pianist to perform at
home or in the concert
hall. The three
fantasies here were
written during the height
of the 2020-21
Coronavirus lockdowns
– a time everyone
will forever recall as a
period of the world
standing still and
experiencing new degrees
of isolation, inactivity,
and apprehension.A
fantasy is a genre to
which a composer can turn
as a respite from the
constraints of form,
tradition, and
expectation. What the
genre may lack in
structure and design it
makes up for with
spontaneity,
capriciousness, and
improvisatory musical
gesture.I hope performers
feel free to take a
similarly
“fantasticalâ€
approach to the
interpretation of these
works, seeing the score
and notation as a point
of departure rather than
arrival, and proceed with
unabashed freedom of
spirit in their
playing.
Chamber Music Piano SKU: PR.140401320 Composed by Eubie Blake. Edited by ...(+)
Chamber Music Piano
SKU: PR.140401320
Composed by Eubie Blake.
Edited by Lara Downes.
Arranged by Jeremy
Siskind. Sws. Score. 8
pages. Duration 3:45.
Theodore Presser Company
#140-40132. Published by
Theodore Presser Company
(PR.140401320).
ISBN
9781491134177. UPC:
680160684274. 9 x 12
inches. Key: F
major.
LOVE WILL
FIND A WAY is one of the
great hits of the 1920s
– an era of
remarkable cultural
growth giving rise to
“The Roaring
'20s,†“The
Harlem
Renaissance,†and a
fun-loving society known
for the Charleston dance
craze and the surge of
jazz into the mainstream
of American music. A song
from Shuffle Along, the
first all-Black Broadway
musical, LOVE WILL FIND A
WAY has been arranged by
pianist Jeremy Siskind
especially for Lara
Downes’ recording
that launches the Rising
Sun series. According
to Langston Hughes, Eubie
Blake’s 1921
Shuffle Along was the
real start of the Harlem
Renaissance. In
Hughes’ words:
“Everybody was in
the audience, including
me. It gave just the
proper push, a
pre-Charleston kick, to
that Negro vogue of the
'20s that spread to
books, African sculpture,
music, and
dancing.â€As
Broadway’s first
all-Black hit musical,
with an all-star cast
including Paul Robeson
and a young Josephine
Baker, Shuffle Along ran
for an unprecedented 504
performances in New York,
then toured nationally
for three years as the
first Black musical to
play in white theaters
across the United States.
The show’s appeal
to a multi-racial
audience, and its
integration of the jazz
and Broadway communities,
not only changed the
history of the American
musical theater, but made
important strides forward
in American race
relations.Love Will Find
a Way is one of the
show’s most
popular tunes. This
intimate, pensive
arrangement by Jeremy
Siskind celebrates the
song’s centenary
by making it a love song
for our own time as much
as its own – a
reminder that no matter
how dark the path or how
gray the skies, love will
always find a way.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Chamber Music Piano SKU: PR.140401340 Sketches for Piano. Composed...(+)
Chamber Music Piano
SKU: PR.140401340
Sketches for
Piano. Composed by
Harry T. Burleigh. Edited
by Lara Downes. 16 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40134. Published by
Theodore Presser Company
(PR.140401340).
ISBN
9781491134450. UPC:
680160684953.
Best
known for his settings of
spirituals and influence
on Dvorák, Henry T.
Burleigh was a celebrated
baritone, and a prolific
composer of original
works. FROM THE SOUTHLAND
is a suite of six
atmospheric scenes of the
American south, inspired
by Black musical and
cultural traditions. FROM
THE SOUTHLAND is within
reach of intermediate
pianists and artistically
suited for professional
recitals. In 1835,
Henry T.
Burleigh’s
maternal grandfather
purchased his own release
from slavery for the sum
of $50, and traveled
north out of Maryland to
begin a new life as a
free man. He established
his family in Ithaca, NY,
and then moved to the
bustling lakefront city
of Erie, PA, where three
decades later his
grandson Henry would be
born and raised.For
Burleigh, the
“Southlandâ€
that inspired this
collection of piano
sketches was a distant
place that could not have
been more different from
the physical world he
knew, up there in the
northern snowbelt. And
yet these southern
landscapes and vignettes
must have been intensely
present in his
consciousness, absorbed
through the stories and
songs he first learned at
his grandfather’s
knee.The music of the
South – the
spirituals and work songs
he heard as a child
–would travel with
Burleigh throughout his
long and illustrious
musical life. Even as he
progressed through his
early classical training,
his career as a baritone
soloist in Erie’s
churches and synagogue,
his move to New York to
study at the National
Conservatory of Music,
and his rise to national
prominence as a concert
soloist, these ancestral
melodies stayed firmly
centered in his musical
identity.When he wrote
From the Southland, his
only composition for solo
piano, Burleigh was just
beginning his career as a
composer. The art songs
that would establish him
as one of
America’s best
known composers in the
genre were still to come.
And so were his iconic
arrangements of
spirituals that would
bring the songs of
slavery onto concert
stages around the world,
transformed into timeless
and uniquely American
music.These little piano
sketches bring together
all the things that made
Burleigh the musician he
was – the lush,
late-romantic style of
his time; a broad vision
for American music; and a
profound respect for his
heritage, a memory of the
world his grandfather
left behind, and a love
of the music he brought
with him.
Nora's Dance Piano seul [Conducteur] Theodore Presser Co.
Chamber Music Piano SKU: PR.140401310 Composed by Nora Holt. Edited by La...(+)
Chamber Music Piano
SKU: PR.140401310
Composed by Nora Holt.
Edited by Lara Downes.
Sws. Score. 8 pages.
Duration 2 minutes.
Theodore Presser Company
#140-40131. Published by
Theodore Presser Company
(PR.140401310).
ISBN
9781491134153. UPC:
680160684250. 9 x 12
inches. Key: G
major.
NORA’
S DANCE is a
jazz-influenced rag from
1921, and among the only
surviving compositions by
Nora Douglas Holt. A
charming and exciting
work rejuvenated by Lara
Downes’ 2021
recording for the Rising
Sun label, the rag is
both a fun 2 minutes for
pianists and audiences,
and also a fascinating
time capsule. Composed
several years after Scott
Joplin’s death,
and several years before
the Charleston pervaded
popular music,
NORA’S DANCE
blossoms with the energy
and jazz harmony starting
to emerge as The Roaring
20’s, using
ragtime and stride as the
seed for pianistic
style. My own life in
music has been driven by
a quest to find strong
female role models,
trails to follow,
shoulders to stand on. In
Nora Douglas Holt, I find
an inspiring example of
creativity, independence,
and resilience –
with a dash of
troublemaking. She was a
free spirit, a force of
nature, and she lived a
fascinating and eventful
life on her own terms.
She reinvented herself
through five marriages
and at least as many
careers. From her
beginnings at the piano
at age four, she explored
many avenues of musical
expression –
performing, composing,
music journalism,
broadcasting, teaching
– all with
inventiveness, style, and
zeal.She made the most of
the Roaring ’20s,
as an artist, socialite,
jetsetter, muse, and
patroness of the Harlem
Renaissance. In 1921 she
started an independent
arts journal called
“Music and
Poetry,†where the
charming piano solo
Nora’s Dance was
first published. I think
the piece captures
beautifully, in a little
under 2 minutes, the
energy and excitement of
those heady years.In
1926, Nora left New York
to travel the world,
performing in nightclubs
throughout Europe and
Asia. She put her
belongings in storage
before she left, and when
she came back she
discovered that many of
her things had been
stolen, including more
than 200 of her musical
compositions. She never
composed again.When the
Depression hit, she moved
out to Los Angeles, where
she studied music
education at USC, taught
music in the LA public
schools, and opened her
own beauty salon. She
returned to New York in
the ’40s and
worked as a music critic
for several major
newspapers, then launched
yet another career, this
time in broadcasting. Her
popular radio concert
series “Nora
Holt’s Concert
Showcase†broadcast
to New York’s
classical music audience,
with a focus on Black
composers and
performers.Ahead of her
time, larger than life,
full of ideas…. I
am so pleased to
introduce you to the
feisty and free spirited
Nora Douglas Holt!
Chamber Music Piano SKU: PR.140401330 Composed by R. Nathaniel Dett. Edit...(+)
Chamber Music Piano
SKU: PR.140401330
Composed by R. Nathaniel
Dett. Edited by Lara
Downes. 32 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40133. Published by
Theodore Presser Company
(PR.140401330).
ISBN
9781491134412. UPC:
680160684939.
Natha
niel Dett was among
America’s leading
composers in the early
20th century, and
MAGNOLIA SUITE is a
beautiful example of his
rich, hybrid style.
Deeply inspired by the
music and mission of
Samuel Coleridge-Taylor,
Dett’s piano music
springs from the late
Romantic traditions of
florid texture and
embellishment, along with
programmatic titles and
raw emotion. It is
notable for melody
writing inspired by and
paraphrasing
African-American song.
The 18-minute MAGNOLIA
SUITE contains five
movements, any of which
may also be performed
separately. This edition
by Lara Downes provides a
clean, new engraving that
corrects the many errors
and unclear indications
appearing in the
historical
printing. Robert
Nathaniel Dett was born
in a place that was built
on freedom. The little
village of Drummondville,
Ontario was founded by
enslaved Africans
– Dett’s
ancestors among them
– who traveled the
Underground Railroad out
of the American South
into Canada. Their
journey brought them to a
safe haven, a place where
fortunes and futures
could be transformed in
the span of one
generation, to lives full
of new possibilities. You
could call it “the
place where the rainbow
ends,†which is the
title of the last
movement of Dett’s
Magnolia Suite.When Dett
wrote these pieces, he
was a young teacher at
Lane College in
Tennessee, a historically
Black college that had
been founded in 1882, the
year of his birth. A
place built on freedom,
with the purpose of
educating
newly-emancipated slaves
– a place designed
to nurture the blossoming
of ideas, the vibrant
flowering of minds set
free. This music is
inspired by the gorgeous
splendor of the magnolia
blooms on that college
campus, and also by the
shared histories,
experiences, and
aspirations of the
community that Dett found
there.These five pieces
pay affectionate tribute
to lineage and legacy.
They express gratitude
for the bittersweet
beauties of the present;
nostalgia for the past (a
bit romanticized, as the
past always is); and an
effervescent optimism for
the future that awaits us
in the place where the
rainbow ends.
Piano SKU: HL.48188746 Composed by Thé and odore Lack. Leduc. Class...(+)
Piano
SKU:
HL.48188746
Composed
by Thé and odore
Lack. Leduc. Classical.
CD. Heugel & Cie
#HE33308. Published by
Heugel & Cie
(HL.48188746).
French.
Miss
Didi''s studies, Op.85 is
the first volume of a
series of two by Theodore
Lack. Containing 20
studies for beginner or
upper-beginner pianists,
the rhythms used are easy
and the tempo quite slow.
Keys are maximum of 1
flat or 1 sharp. These 20
first studies of one page
each are named: 1.
Prelude, 2. Chanson du
voyageur, 3. Berceuse, 4.
N/A, 5. Valse, 6. N/A, 7.
Alsacienne, 8. Le Rouet,
9. Tyrolienne, 10.
Musette, 11. N/A, 12.
Lied, 13. N/A, 14.
Improvisation, 15. N/A,
16. Tarentelle, 17.
Rondino, 18. N/A, 19.
Romance and 20. Guigue.
This first volume is
followed by a second one
and can be studied
alongside the two volumes
of exercises called Miss
Didi''s Exercises, Op.85
for a more complete
method. Theodore Lack
(1846-1921) was a French
pianist and composer who
also composed a ''Piano
Method for Four-hand
Piano, Op. 269''..
Piano SKU: BT.ALHE33308 Composed by Theodore Lack. Studies & Exercises. B...(+)
Piano
SKU:
BT.ALHE33308
Composed
by Theodore Lack. Studies
& Exercises. Book Only.
Heugel & Cie #ALHE33308.
Published by Heugel & Cie
(BT.ALHE33308).
French.
Miss Didi''s studies,
Op.85 is the
first volume of a series
of two by
Théodore
Lack. Containing 20
studies for beginner or
upper-beginner pianists,
the rhythms used are easy
and the tempo quiteslow.
Keys are maximum of 1
flat or 1 sharp.
These 20 first studies of
one page each are named:
1. Prélude, 2.
Chanson du voyageur, 3.
Berceuse, 4. N/A, 5.
Valse, 6. N/A, 7.
Alsacienne, 8. LeRouet,
9. Tyrolienne, 10.
Musette, 11. N/A, 12.
Lied, 13. N/A, 14.
Improvisation, 15. N/A,
16. Tarentelle, 17.
Rondino, 18. N/A, 19.
Romance and 20. Guigue.
This first volume is
followed by a
secondoneand can be
studied alongside the two
volumes of exercises
called Miss
Didi''s Exercises,
Op.85 for a more
complete method.
Théodore
Lack (1846-1921) was
a Frenchpianist and
composer who also
composed a ''Piano Method
for Four-hand Piano, Op.
269''.
Piano SKU: BT.BVP1250 10 Petit Pieces Tres Faciles Pour Piano. Com...(+)
Piano
SKU:
BT.BVP1250
10
Petit Pieces Tres Faciles
Pour Piano. Composed
by Theodore Lack. Book
Only. Broekmans en Van
Poppel #BVP1250.
Published by Broekmans en
Van Poppel (BT.BVP1250).
An Anlehnung
von Ferdinand Davids
Fassung für 2 Violinen
und Klavier ein
gelungener Versuch,
Mozarts
Vierhändig-Sonate
für 2 Flöten und
Klavier zu adaptieren.
Lohnend.
