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.

40 Advanced Arrangements. Arranged by Carol Tornquist. Book; Piano Collection; Piano Supplemental. The Professional Pianist. Christmas; Contemporary Christian; Sacred; Winter. 140 pages. Published by Alfred Music

50 Advanced Arrangements. Arranged by Dan Coates. Book; Piano Collection; Piano Supplemental. The Professional Pianist. Christmas; Holiday Pops; Sacred; Secular; Winter. 136 pages. Published by Alfred Music

The new, easy and fun way to teach yourself to play. Willard A. Palmer and Morton Manus. For Piano. Piano Method. Book and CD. 192 pages. Published by Alfred Publishing.

Let's Play Jazz and More * Primer composed by Jay Latulippe and Sonny Doss. For easy piano. This edition: Paperback. Instructional. Jazz Method. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Method/Instruction; Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Book and CD. 112 pages. Published by Alfred Music Publishing

Piano

SKU: BT.MUSM570364459

Composed by Robert Saxton. Classical. Book Only. 24 pages. University of York Music Press #MUSM570364459. Published by University of York Music Press (BT.MUSM570364459).

English.

Robert Saxton 's Hortus Musicae , Book 1 was commissioned by Ian Richie for the 2013 City of London Festival with funds provided by the John S. Cohen Foundation. The first performance was given by Clare Hammond on June 24th 2013 at the church of St Mary Le Bow. The title, less 'literal' in Latin than in the vernacular, refers to the idea of an allegorical/metaphysical garden (reference to a 'real', or existing, garden might be implied by Hortus Musicus) with various facets. The titles of the individual pieces/movements, with their respective garden image, are as follows: 1) Hortus Somniorum: a fleeting vision of a 'magical' garden 2) Hortus Temporis: a reflection of/on the floralclock described by Andrew Marvell (1621-1678) in his [metaphysical] poem The Garden: How well the skilful gardener drew Of flowers and herbs this dial new Where from above the milder sun Does through a fragrant zodiac run; And, as it works, the industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckoned but with herbs and flowers! 3) Hortus Cantus: A garden in which nature 'sings' (praises), in the manner of a 'chorale prelude' and ending with the cantus firmus transformed into bells. 4) Hortus Infinitatis: A meditative/formal garden representing Time suspended, in the form of a palindromic prolation canon combined with a harmonic ground (chaconne). 5) Saltatio Hortensis: A (summer) garden of dancing, celebratory nature. Its essence (and that of the entire cycle, both metaphorically and structurally/formally) is summed up in words spoken by Miranda in WH Auden's 1944 Tempest [Shakespeare]-inspired poem The Sea And The Mirror; So, to remember our changing garden, we Are linked as children in a circle dancing. Duration: 15 minutes.

by Gail Smith. For Piano. method. All Styles. Level: Beginning. Book. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

(Arrangements of Holiday Favorites for Solo Piano). Arranged by Sharon Aaronson, Dennis Alexander, Cindy Berry, Tom Gerou, Joyce Grill, Victor Labenske, Mary K. Sallee, and Robert D. Vandall. For Piano. Piano Collection. Intermediate / Late Intermediate. Book. 96 pages. Published by Alfred Music Publishing

Arranged by Allan Small. For Piano. Piano Collection. Level: Intermediate (grade 4/5). Book. 64 pages. Published by Alfred Publishing.

By Stephen Druro (Arranger). For Piano. Classical. Sheet Music. 64 pages. Published by Wise Publications.

Arranged by Shannon M. Grama, Phillip Keveren. Pianosoft (Yamaha software for the Disklavier pianos - this is NOT sheet music). Floppy disk. Size 5x5.5 inches. Published by Hal Leonard.

Composed by Rebecca Bonam. Keyboard. For piano. Instructional. Sacred. Moderately difficult. Accompaniments. Published by SoundForth

31 Arrangements of Christmas Praise Songs. Arranged by Victor Labenske. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Christmas; Contemporary Christian; Sacred; Winter. 128 pages. Published by Alfred Music

By Amy Appleby. For Piano. Classical, Folk, Children's. Sheet Music. 146 pages. Published by Wise Publications.

Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For piano. Format: instructional book. With introductory text, instructional text, illustrations, easy piano notation and fingerings. Learn To Play. Series: Alfred's Basic Piano Library. 96 pages. 9x12 inches. Published by Alfred Publishing. (AP.2236) A beginning course for adults who prefer a chord approach. It teaches chords for both hands so that the student can play more than single note melodies. It contains outstanding songs such as "The Entertainer," "Scarborough Fair," "Greensleeves" and "Amazing Grace."

Arranged by Craig Stevens. Collection for solo piano. 206 pages. Published by Santorella Publications.

Piano

SKU: BT.MUSAM60534

The Complete Piano Player. Book Only. Music Sales #MUSAM60534. Published by Music Sales (BT.MUSAM60534).

ISBN 9780711907539.

Twen ty-five well-loved Christmas songs and carols, fully fingered with words and chord symbols.

Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. Instructional book (spiral bound) and accompaniment CD for piano. With introductory text, instructional text, easy piano notation, fingerings, illustrations and lyrics (on some songs). Series: Alfred's Basic Adult Piano Course. 144 pages. Published by Alfred Publishing.

Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For piano. Format: instructional book. With introductory text, instructional text, illustrations and performance notes. Instructional. Series: Alfred's Basic Piano Library. 9x12 inches. Published by Alfred Publishing.

Over 60 Seasonal Favorites. Composed by Various. Piano Solo Songbook. Christmas. Softcover. 176 pages. Published by Hal Leonard

Arranged by Various. For solo piano. This edition: Complete. Collection. Advent, Christmas, Sacred. Collection. 166 pages. Published by Hope Publishing Company

For solo piano. Format: piano solo book. Christmas and holiday. 184 pages. 9x12 inches. Published by Hal Leonard.

Super Easy Songbook. Composed by Various. Super Easy Songbook. Christmas. Softcover. 48 pages. Published by Hal Leonard