SKU: SU.91190140

Instrumentation : Clarinet, Violin & Piano
Duration: 21'
Composed: 2014
Published by: Subito Music Publishing.

SKU: SU.46200010

Clarinet, Violin & Piano Duration: 25 ' Composed: 1984 Published by: Verdehr Trio This publication contains two separate worksMedieval Suite composed by James NiblockTrio in B-flat transcribed by James Niblock Medieval Suite uses material from a variety of thirteenth through fifteenth-century sources. The second movement is a fantasy for clarinet solo based on a Gregorian Chant melody from the Liber Usualis. Trio in Bb Major, K358 is a transcription on one of four piano sonatas that Mozart composed for four hands. The objective of this transcription was to capture, as accurately as possible, Mozart’s intent had he scored this sonata of the trio. Michigan State University Press.

SKU: SU.46200080

Clarinet, Violin & Piano Duration: 15 ' Composed: 1999 Published by: Verdehr Trio Written as a tribute to the Verdehr Trio, the first movement begins as a lyrical dialogue for violin and clarinet, which with the harp-like entrance of the piano transforms into a virtuosic dance. The second movement and third movements use themes Chihara’s musical SHOGUN. Michigan State University Press.

SKU: SU.46200060

Clarinet, Violin & Piano Duration: 16 ' Composed: 1979 Published by: Verdehr Trio Inventions on the Summer Solstice was written for the Verdehr Trio in 1979. It is an evocative work, enhanced by such effects as the spatial modulation of the violin and the second invention, and the addition of claves, maracas, wire brushes used inside the piano, and a toy cricket to augment ensemble’s timbral resources. Michigan State University Press.

SKU: SU.46200100

Clarinet, Violin & Piano Composed: 1986 Published by: Verdehr Trio This publication contains four separate works written by James Niblock for the acclaimed Verdehr Trio. Il Penseroso e Allegro Paganiniana Palindrome MSU Fight Song

SKU: SU.80600891

Includes Clarinet & Violin parts. The pianist plays from the score.Clarinet, Violin & Piano Composed: 1993, commissioned by the Verdehr Trio Published by: E.B. Marks Also available:Score - 80600890.

SKU: SU.80600890

Clarinet, Violin and Piano Composed: 1993, commissioned by the Verdehr Trio Published by: E.B. Marks Also available:Parts - 80600891 (Includes Clarinet and Violin parts. The pianist plays from the score.).

SKU: SU.46200040

Clarinet, Violin & Piano Duration: 28' Composed: 1994 Published by: Verdehr Trio The first movement, marked Allegretto, is in sonata-allegro form with extended recapitulations of the two major thematic ideas but varied both in music treatment and instrumentation. The second movement is a scherzo with a trio section interpolated throughout the movement. The third movement marked Adagio assai, is a large-canvassed, expressive slow movement in which a rhythmic motive heard in the first two movements is fully emphasized and used in building towards the climax of the movement. Michigan State University Press.

SKU: SU.46200050

Clarinet, Violin & Piano Duration: 10' Composed: 2001 Published by: Verdehr Trio Every measure of Collage – 1912 is based on one or more snippets taken from one composition each by Béla Bartók, Irving Berlin, Claude Debussy, W.C. Handy, Charles Ives, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, James Scott, Richard Strauss, Igor Stravinsky, and Joaquín Turina. The work is about 12 minutes long and consists of two parts that are performed without pause. Michigan State University Press.

SKU: SU.46200070

Clarinet, Violin & Piano Duration: 5 ' Composed: 1990 Published by: Verdehr Trio Commissioned to have an nineteenth-century flavor, Hoag chose for this work to reach back to the uniquely American perspective of the rag. Michigan State University Press.

SKU: SU.46200090

Clarinet, Violin & Piano Duration: 22' Composed: 1988 Published by: Verdehr Trio Tripartita is a title invented for this score, a piece in three movements for three players. The first movement Elaborations is a sonata-like structure whose ideas evolve out of the harmonic succession heard as the background material of the opening passage. The second and third movements are based on essentially the same scalar and harmonic materials as the first; however, they are somewhat different in their moods and expression, in part because they both incorporate elements derived from popular music idioms of the early part of the twentieth century. The form of the second movement, Dances,is related to the nineteenth century scherzo with two trios; here, the scherzo sections are fast and jazzy,while the more relaxed digressions are, respectively, a ragtime-waltz and a tango. The third movement Blues with Variations follows without pause, and furthermore is linked structurally to the previous movements, since the chord sequence for the blues (and subsequent variations) is the same one employed from the very opening of the work. —William Averitt.