Chamber Music Piano

SKU: PR.110418140

Composed by James Matheson. Performance Score. 24 pages. Duration 25 minutes. Theodore Presser Company #110-41814. Published by Theodore Presser Company (PR.110418140).

ISBN 9781491129432. UPC: 680160640379.

Mathe son’s five-movement work is a setting of stained glass windows created by Marc Chagall and Henri Matisse for a rustic country church adjoining the Rockefeller estate near Sleepy Hollow on the Hudson River. Matheson’s suite draws from four Chagall windows: 1. Jeremiah, 2. Isaiah, 3. Crucifixion, 4. The Good Samaritan, and culminates with Matisse’s 5. The Rose.
In 1954, the Rockefeller family asked Henri Matisse to create a stained glass Rose Window for the Union Church of Pocantico Hills, New York as a memorial to Abby Aldrich Rockefeller, the great art patroness and a founder of the Museum of Modern Art. It was to be the artist’s last work. A few years later, Mrs. Rockefeller’s youngest son, David, acting on behalf of the family, commissioned Marc Chagall to create an entire series of stained glass windows to fill the rest of the small church resulting in the large, majestic “Good Samaritan” window and eight sublime smaller windows, each depicting a biblical figure or scene. In 2015, Premiere Commission commissioned James Matheson to compose WINDOWS to celebrate the centennial of the Union Church of Pocantico Hills and the 100th birthday of David Rockefeller.  This deeply touching, epic cycle distills into music the intimate, often heart-rending, visions of Chagall as well as the powerful simplicity of Matisse’s modern design which utilizes the striking collage forms he employed in his final years. Matheson’s work also reflects the influence of Olivier Messiaen’s own theologically-inspired music. Like the French master, Matheson utilizes large-scale blocks of harmonies with organ-like sonorities to support and shift the music’s kaleidoscopic planes of color and set into relief the work’s piercing motifs and intricate patterns. The universal themes of love and sacrifice (“Jeremiah” and “Isaiah†), loss and altruism (“Crucifixionâ€� � and “The Good Samaritan”) and the jubilant celebration of life and nature (“The Rose”) are memorably portrayed in this poignant tribute to the human spirit.—Bruce Levingston.

Piano

SKU: PR.701175060

Arranged by Edison Quintana. Peermusic Classical #70117-506. Published by Peermusic Classical (PR.701175060).

UPC: 888680101268.

“Th e idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..

Piano

SKU: PR.701185010

Arranged by Leticia Gómez-Tagle. Peermusic Classical #70118-501. Published by Peermusic Classical (PR.701185010).

UPC: 888680101275.

“Th e idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..

(For Piano). By Lowell Liebermann. Piano. For Piano. Contemporary. Performance score. Standard notation. Opus 112. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company

Piano Solo. Composed by Bruce Adolphe. LKM Music. Softcover. 40 pages. Lauren Keiser Music Publishing #X410110. Published by Lauren Keiser Music Publishing

Composed by Chen Yi (1953-). Sws. Duration 6 minutes. Theodore Presser Company #110-41828. Published by Theodore Presser Company

Piano

SKU: HL.50600925

For Piano. Composed by Bright Sheng. Piano. Classical. Softcover. 32 pages. G. Schirmer #ED4625. Published by G. Schirmer (HL.50600925).

ISBN 9781495095320. UPC: 888680688592. 9x12 inches.

Composer Note: In 1990, after eight years in the United States, I wrote my first work for solo piano, titled My Song, commissioned for Peter Serkin. At the time, my primary compositional concentration was to develop a melodic and harmonic style within the boundaries of Chinese folk music, which are mostly in pentatonic modes, and contemporary Western Classical music. As a result, all the four movements in My Song were either based on existing Chinese folk tunes or written in their style. I was asked recently by another virtuoso pianist friend, Yefim Bronfman, to write a work for solo piano. After the passing of 17 years, I wonder if there is any change in my writing. I therefore titled the new suite My Other Song.

There are four movements in the composition, the first three of which are brief and provide contrast in character. The theme of the last movement, the longest, is based on a Buddhist chant heard at the wake for my mother in February 2005.–Bright Sheng.

Piano solo - Level 3

SKU: FV.FUE-1010

Composed by Barbara Heller. Piano (Harpsichord), 2-hands. Instrumental Music. Full score. Composed 1963/1986. Duration 4'. Furore Verlag #FUE 1010. Published by Furore Verlag (FV.FUE-1010).

ISBN 979-0-50012-001-8.

Toccatina (1963): Written in a playful vein, this piece is reminiscent of Aram Khatchaturian's Toccata. Appro-priate for use as a 20th-century composition in piano examinations. Medium difficulty. Tonkette (1986): this piece was commissioned by a goldsmith on the occasion of the opening of one of her jewelry exhibits. Entertaining, written in unison with hidden polyphony, traditionally notated, easy to moderately difficult.

(Ten Short Pieces for Piano). By George Benjamin. Orchestra. For piano. Full Orchestra; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Chamber Music Piano

SKU: PR.110418250

Composed by Shulamit Ran. Sws. Performance Score. 12 pages. Duration 11 minutes. Theodore Presser Company #110-41825. Published by Theodore Presser Company (PR.110418250).

ISBN 9781491133859. UPC: 680160683345. 9 x 12 inches.

This intriguing 11-minute work builds on alternations between declamatory unmetered phrases (beginning as “sonorous, rubato, with great aplomb and resonance”) and strictly motoric rhythmic sections, developing in waves of increasing drama and intensity. Commissioned by the Naumburg Foundation for pianist Xiaohui Yang’s Carnegie Hall premiere.
Ballade is a one-movement work of approximately 11 minutes, divided into three main parts that are played without significant break.Ballade alternates sections where the performer is invited to apply great interpretive freedom, especially on the temporal plane, with contrasting sections that are quite precise and rhythmic. Although carefully notated, the “freer” sections (often marked rubato) certainly allude at times to the kind of repertoire that is familiar to most concert pianists, doing so not by way of quotation but by the type of expressivity, affect, and even passagework. Thus, the performer should think of the score as a “blueprint,” where the many descriptive words I have inserted throughout the score (ranging from sonorous, rubato, with great aplomb and resonance as the work begins, to with greater motion, in a series of ever-expanding “waves” later on) are intended to act as triggers for one’s sense of imagination and fantasy to take off and bring the music alive! An inscription in the score urges the pianist to play fearlessly and exuberantly, but also tenderly!

By Martha Mier. For Piano. Piano Solo. Late Intermediate level piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Sheet. Published by Alfred Publishing.

By Catherine Rollin. For Piano. Piano Solo. Level: Intermediate. Sheet. 4 pages. Published by Alfred Publishing.

Piano (Piano)

SKU: HL.14030351

Composed by Edward Gregson. Music Sales America. Classical. Book [Softcover]. Novello & Co Ltd. #NOV100341. Published by Novello & Co Ltd. (HL.14030351).

ISBN 9780853605485. UPC: 884088434175. 8.5x11.75 inches.

Commissione d by Richard Deering with funds provided by the Arts Council of Great Britain and first performed by him in October 1982 in Amsterdam. The title is the same as the Schoenberg ones of 1911 and like those pieces my title is something of an understatement. They are not musically or technically undemanding as the title may perhaps suggest. In my case these pieces were in a sense sketches for my larger scale Piano Sonata of the following year. Each piece has its own essential character, but all of them are linked in the use of common pitch material. There is more than a hint of parody in the mood of the music.

For Solo Piano. Harp of the North was commissioned by Warren Mailley-Smith in November 2004. First performed at the Stratford-upon-Avon Music Festival, October 2005.

A lyrical melody is central to the texture in the openingsection, often interrupted or partially shaded by surrounding filigree material. Two passionate and more agitated interjections punctuate the course of the piece, with the lowest of the bass notes, which are sparingly used,occuring at the main climax. A tender and melancholy reminder of the opening material leads the work to a gentle close