Piano Duet

SKU: HL.14018852

Composed by Kenneth Leighton. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV100349. Published by Music Sales (HL.14018852).

ISBN 9780853609308.

Pian o duet score. 1st performance Ellesmere College, January 1986 by Richard Markham and David Nettle. Duration c.24 minutes. The work is in three movements and the musical thought is symphonic. The first movement (based entirely on the opening motive) goes through a series of paragraphs which eventually culminate in an extended melodic line played entirely by the treble player. The middle movement is a playful Scherzo with a rather sardonic waltz for its Trio. The slow movement (which comes last) is much more relaxed and concentrates on a D major motive with sharpened fourths, but the more intense moods of the first movement return in a suddenly impassioned middle section.

Four Simple Pieces for Trombone by Alan Hutt. For Tuba and Piano. Grades 2-4. Sheet Music. Published by ABRSM (Associated Board of the Royal Schools of Music)

Medium Voice & Piano

SKU: ST.Y291

Composed by Rhian Samuel. Vocal music. Four songs for medium voice and piano to poems by Anne Stevenson and Emily Dickinson.. Vocal score. Stainer & Bell Ltd. #Y291. Published by Stainer & Bell Ltd. (ST.Y291).

ISBN 9790220223372.

CONT ENTS
1. Blackbird (Anne Stevenson) (b - g)
2. The moon is distant (Emily Dickinson) (b - g sharp)
3. Bird in hand (Anne Stevenson) (e flat - g flat)
4. On not being able to look at the moon (Anne Stevenson) (b - g)

For medium voice and piano or ensemble of flute, harp and string quartet, Moon and Birds is a substantial cycle of songs to words by Anne Stevenson and Emily Dickinson. Its sequence of four settings, 'Blackbird', 'The moon is distant' (Dickinson), 'Bird in hand' and 'On not being able to look at the moon' unfolds a symmetrical structure of contrasting yet interlocking moods in which the reflective second and fourth numbers, lunar visions of mystic tranquillity flawed by doubt and pain, temper with human frailty the bright epiphanies of the first and third songs.

There is a fascinating challenge here for the performer to embrace both elation and gravitas in a single reading, Samuel's vigorous musical invention binding the developing web of feeling with its own formal strengths and subtly illustrative moments. In the version for string quartet, flute and harp, first performed by Contemporary Connections on 4 November 2011 at St James's Church Piccadilly, the flute takes a prominent role throughout. Violins, viola and cello at times elaborate on the simpler textures of the keyboard version, though the two scores remain entirely compatible. The bluesy harmonies of the concluding number, whether weighted by sonorous string quartet or profiled in edgier piano chords, bring the cycle to a sombre conclusion with a proper sense of an emotional world traversed.

Piano - intermediate

SKU: HL.44005716

Six pieces for piano. Composed by Anthony Hedges. Fentone Instrumental Books. Educational Tool. Book Only. Fentone Music #F271. Published by Fentone Music (HL.44005716).

UPC: 884088041861. English.

Six Moods is the fourth volume in the Fentone 'Autograph Series'. Each of these volumes, by a separate composer, contains a set of six pieces aimed at players who have reached at least Grade 5 level. The six short works within Six Moods are:Contentment - a relaxed piece using well-shaped legato melodic linesAssertion - A lively piece requiring firm fingers and rock steady rhythmWhims - A light hearted piece with a slightly jazzy feelEnergy - Pleanty of movement with a need for clean articulation and rhythmic stabilityReflection - An atmospheric piece using plenty of sustaining pedalAggression - Forceful tension building to a violent ff climax.

Trumpet and Trombone Duet in 4 movements - advanced

SKU: CY.CC2778

Composed by Elizabeth Raum. Contemporary. Booklet. Published by Cherry Classics (CY.CC2778).

Four Elements was originally composed for Violin and Bass Trombone and was written as a Christmas present for the composer's sister, Priscilla, and her husband, Bass Trombonist, Gordon Hallberg who performed with the Boston Symphony Orchestra.

Raum was experimenting with tone rows at the time and the row is first stated in the first six notes in the Trombone part followed by the next six in the Violin part.

The titles of the movements, from the Four Elements, are descriptive of the moods of each movement.

Water has the lines of the instruments flowing, as in a river with swirls and eddies.

Earth has Jazz influences which are intended to give an Earthy quality to the second movement.

Air, with mutes, glissandos, and quasi unmeasured rhythm, seeks to float;

The finale Fire is crackling with excitement.

Trombonist, David William Brubeck, asked Raum if she had anything written for trumpet and trombone as he frequently performs in a duo so she adapted the violin part in Four Elements for trumpet.

The work can be performed by advanced performers.

Two scores are provided, including one for C Trumpet and the other for B-flat Trumpet. The Trombone part can be performed with an f-attachment Tenor Trombone or Bass Trombone.

By Fibich Zdenek. Czech title: Nalady, dojmy a upominky op. 41/III. Published by Praha (Czech import).

Composed by Robert Russell Bennett (1894-1981). Arranged by R. Mark Rogers. Southern Music. Concert Band. Softcover. Southern Music Company #S971CB. Published by Southern Music Company

By Fibich Zdenek. Czech title: Nalady, dojmy a upominky op. 41/IV. Published by Praha (Czech import).

Violin and trombone duet - advanced

SKU: CY.CC2864

Composed by Elizabeth Raum. Contemporary. Two Booklet scores. Published by Cherry Classics (CY.CC2864).

Four Elements was originally composed for Violin and Bass Trombone and was written as a Christmas present for the composer's sister, Priscilla, and her husband, Bass Trombonist, Gordon Hallberg who performed with the Boston Symphony Orchestra.

Raum was experimenting with tone rows at the time and the row is first stated in the first six notes in the Trombone part followed by the next six in the Violin part.

The titles of the movements, from the Four Elements, are descriptive of the moods of each movement.

Water has the lines of the instruments flowing, as in a river with swirls and eddies.

Earth has Jazz influences which are intended to give an Earthy quality to the second movement.

Air, with mutes, glissandos, multiphonics and quasi unmeasured rhythm, seeks to float;

The finale Fire is crackling with excitement.

The work can be performed by advanced performers.

Grade 3

SKU: CL.012-2514-00

Overture. Composed by Sheldon. Concert Band. Command Series. Audio recording available separately (item CL.WFR104). Score and set of parts. Composed 1993. Duration 7 minutes, 30 seconds. Opus III Wind Orchestra Publications #012-2514-00. Published by Opus III Wind Orchestra Publications (CL.012-2514-00).

A brilliant piece for contest or concert featuring four distinct moods. The opening section features flowing melodies supported by a gentle accompaniment in several tempos. A legato and reverent andante section follows and creates the opportunity for beautiful, expressive interpretation. The third mood is a jubilant celebration that leads to a majestic conclusion.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Piano. Composed by Evgeny Kissin. Sheet Music. Paperbound. Henle Music Folios. Classical. Softcover. 14 pages. G. Henle #HN1372. Published by G. Henle

By Colin Matthews (1964-). For Viola and Piano. Masterworks; Part(s); Score; Solo; String - Viola and Piano. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Piano

SKU: M7.AV-5792

Potpourri. Arranged by Will Glahe. This edition: Folding. Sheet music. 16 pages. MDS (Music Distribution Services) #AV 5792. Published by MDS (Music Distribution Services) (M7.AV-5792).

ISBN 9790203916185.

By Lani Smith. For piano, four-hands. Christmas. Sacred piano. Published by Lorenz Publishing Company. (70/1558L)
Level: Level 2.

By Eugene Butler. Piano 4-hand. Sacred piano. Published by Lorenz Publishing Company.

Four Solos by Rosemary Barrett Byers. By Rosemary Barrett Byers. Pace Piano Education. Softcover. 10 pages. Published by Lee Roberts Music Publications, Inc.

(Rapsodie Espangnole, Mother Goose Suite, Valses Nobles et Sentimentales, and Pavane for a Dead Princess). Composed by Maurice Ravel (1875-1937). Orchestra. Full Orchestra (Full Score); Larger Works; Masterworks; Score. Dover Edition. Impressionistic; Masterwork. Published by Dover Publications

Clarinet Quartet

SKU: IS.CQ7692EM

Composed by Karel Van Marcke. Woodwinds - Clarinet. Metropolis Music Publishers #CQ7692EM. Published by Metropolis Music Publishers (IS.CQ7692EM).

ISBN 9790365076925.

The suite Faust was commissioned by puppet theatre Tejooter Aabazjoer (Aalst, Belgium) in 2015. The eight pieces reflect four moods: happy, dance, open and introverted. Play the works in any order. Each time, the titles will combine to form a different poem. Do you play Faust live? Please publish your chosen order of the pieces and thus your self-formed poem in your programme booklet.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

By Kelly Thomas, tuba and euphonium. By Various. For tuba solo & euphonium. Mark Masters. Classical. Audio CD. Published by Mark Custom Music

Chamber Music String Quartet

SKU: PR.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.