By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

By Mary Ann Harbar. For Violin. Solos. Classic. Level: Intermediate. Book/CD Set. Size 9x11.75. 128 pages. Published by Mel Bay Publications, Inc.

Chamber Music Violin

SKU: CF.BF115

Composed by Johann Sebastian Bach. Edited by Rachel Barton Pine. SWS. Collection. With Standard notation. 80 pages. Carl Fischer Music #BF115. Published by Carl Fischer Music (CF.BF115).

ISBN 9781491150993. UPC: 680160908493. 9x12 inches.

Johann Sebastian Bach’s (1685—1750) SixSonatas and Partitas have captivated violinistsfor centuries. Rachel Barton Pine—havingspent decades studying the music of Bach,his contemporaries, and his predecessors—now offers this unparalleled edition completewith detailed historical notes, performancesuggestions, and downloadable study materialsincluding a new Urtext edition and a speciallyprepared manuscript. Pine’s interpretationis informed by thorough historical study, which has been polished byyears of performance insight, but also encourages those studying Bach’srepertoire to craft their own unique interpretation of these timelessmasterpieces. This edition closely follows Pine’s critically acclaimed 2016recording “Testament: Complete Sonatas and Partitas for Solo Violin byJ.S. Bach” (Avie 2360) making it an invaluable resource for any student,teacher, or performer enthralled with J.S. Bach’s long standing legacy.Ms. Pine holds the distinction of being the only American and youngestperson to win the gold medal at the J.S. Bach International ViolinCompetition in Leipzig, Germany, 1992.
here is no one right way to play Bach. More thanalmost any repertoire, each individual’s interpretation isas unique as their personality. Though I have spent decadesstudying Bach’s music as well as that of his contemporariesand predecessors, my final rationale for artisticdecisions is often taste and instinct. Every violinist whoundertakes a lifetime’s journey with this incredible repertoireis continually discovering new ideas. Thus, theopinions on the following pages may evolve over time.However, everything in the sheet music closely follows my2016 recording “Testament: Complete Sonatas and Partitasfor Solo Violin by J.S. Bach” (Avie 2360), which I trulyfeel represents the culmination of my exploration intothese extraordinary works.In choosing to present this edition, my hope is thatyou will find useful solutions to challenges of fingering,bowing, and polyphony, and helpful information aboutphrasing. I have also included additional dynamic suggestionswith the hope that trying these ideas will help inspireyou to discover your own. All of these markings aredesigned to work with a baroque violin and baroque bow,a modern violin and baroque bow, or a modern violinand modern bow. While the information in this editionis unusually dense, there is much that I did not include,such as lifts, breaths, articulations, whether to play on oroff the string, metronome markings, details of timing,and emphases other than hemiolas.I offer this book to you in the spirit of Bach: “SoliDeo Gloria.”.

Violin

SKU: ST.Y274

Composed by Morgan Hayes. String music. 3 minutes. Score. Stainer & Bell Ltd. #Y274. Published by Stainer & Bell Ltd. (ST.Y274).

ISBN 9790220223358.

1st perf: Keisuke Okazaki, Tokyo Opera City Recital Hall, Tokyo, Japan, 22 April 2008
1st UK perf: Darragh Morgan, Schott Recital Room, Bauer & Hieber, London, 5 February 2009

Though the jagged figures and phrases of Lucky's Dream by Morgan Hayes are unmistakably those of a contemporary musical expressionist, the shadow of Bach also falls on this work, inspired by the virtuosity of the young Japanese soloist Keisuke Okazaki and his playing of the E major Partita.

In fact, though 'standard' contemporary techniques are widely used in the piece - left-hand pizzicato, harmonics and microtones, all deployed in edgy, unpredictable rhythms - there is also a classical shape to the structure. In this two-part form, lasting around four minutes, the first section is reflective, dwelling on single notes, phantoms as it were of pitches that are subtly deflected through slow glissandi. Then a spectral dance ensues, delivered largely on plucked strings, ethereal, disembodied, strange.

The 'Lucky' in question is a character from Samuel Beckett's play Waiting for Godot, and Lucky's Dream is a complementary work to the earlier, impassioned Lucky's Speech (2006). The two items can stand alone or may be performed consecutively. Both are to be found on the recent all-Hayes CD released on the NMC label (NMC D163), which also features the composer's 17-minute Violin Concerto as further evidence for his original approach to writing for the instrument.

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 great masterpieces from the baroque, classical, romantic and modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.

String quartet

SKU: HL.49045639

Chaconne. Composed by Fred Lerdahl. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2016. 108 pages. Duration 990 seconds. Schott Music #ED 30174. Published by Schott Music (HL.49045639).

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.

Both the Partita in A Minor by J. S. Bach and the Sonata in A Minor by his son C. P. E. Bach are recognized as being among the most significant eighteenth-century solo works for unaccompanied flute, yet they could hardly be more distinct from each other in both form and style. The Partita, rediscovered in 1917, clearly follows J. S. Bach's style in its form, depth, style, and structure. The Sonata was published in 1763, and is to be played in a much more sensitive and expressive way than the Partita. It is a highly dramatic work using extremities of dynamic range, wide intervals, and carefully thought-out phrasing. This edition includes a complete performance on CD

The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales

By Johann Vilsmayr. Edited by John Craton. Solo instrument. For Violin Solo. Chamber music. Six partitas for solo violin.. Early baroque. Moderately advanced. Sheet music. 47 pages. Duration 70 minutes. Published by Wolfhead Music

Flute (Flute)

SKU: HL.48186450

Composed by Guy-Claude Luypaerts. Leduc. Post-1900. Softcover. 5 pages. Alphonse Leduc #AL30686. Published by Alphonse Leduc (HL.48186450).

UPC: 888680827922. 9.0x12.25x0.074 inches.

Having studied under Jean Pierre Rampal and Tony Aubin at the Conservatoire National de Paris, flautist Guy-Claude Luypaerts now divides his time between his work as a soloist, teacher and orchestral conductor, without neglecting his compositional activity. Luypaerts has remained true to his childhood land: for this resident of the seaside village of Panne in western Flanders, the North Sea coastline is a continual source of inspiration. This beloved landscape, where sea, sky and dune embrace, was the setting for the composition of the Partita for Flute in August 2014. The title can be seen as a tribute to two essential works in the solo Flute repertoire: Bach?s Partita in A Minor, BWV 1013 and the Sonata in A Minor Wq 179 by his son Carl Philipp Emanuel. Dedicated to flautist Maxence Larrieu, who included it in the programme of his International Competition (2015), the Partita contains three movements. The energetic determination of Patience contrasts with the dreamy exhalations of Volutes, before the Chimeres are unleashed upon an angry sea..

With Fingering Piano (Piano Solo) BWV 830 Piano Solo with fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1656. Published by G. Henle

Without Fingering Piano (Piano Solo) BWV 830 Piano solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1696. Published by G. Henle

By Louis Spohr (1784-1859). Arranged by Schwenke. For clarinet (violin 2), violin, viola, cello, double bass ad lib. and piano. Facsimile Editions - Winds, Strings and Piano. Unusual instrumentation, but enjoyable to play and perform. Fine arrangement of Spohr's Octet. Schwenke was a masterful arranger. Classical

Without Fingering Piano (Piano Solo) BWV 829 Piano Solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 27 pages. G. Henle #HN1695. Published by G. Henle

Without Fingering Piano (Piano Solo) BWV 828 Piano Solo without fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 31 pages. G. Henle #HN1694. Published by G. Henle

With Fingering Piano (Piano Solo) BWV 829 Piano Solo with fingering. Composed by Johann Sebastian Bach (1685-1750). Edited by Ulrich Scheideler. Henle Music Folios. Classical. Softcover. 27 pages. G. Henle #HN1655. Published by G. Henle

Composed by Johann Sebastian Bach (1685-1750). Arranged by Robert Bancalari. For mandolin. Squareback saddle stitch. Intermediate. Book and online audio. Published by Mel Bay Publications, Inc

Composed by Andrew Driscoll. For mandolin. Methods/studyies. Advanced. Book. 76 pages. Published by Mel Bay Publications, Inc

By Keith Snell. Edited by Proctor. Arranged by Keith Snell. Educational instrumental collection (Flute). Level: advanced. 52 pages. Published by Belwin.

106 Graded Pieces from Baroque to the 20th C. Compiled and Edited by P. Low, S. Schumann, C. Siagian. Composed by Various. Edited by Charmaine Siagian. Willis. Classical, Recital, Solos. Softcover. Published by Willis Music

Piano

SKU: LM.27365D

Composed by Charles Herve and Jacqueline Pouillard. De Bach a nos jours. Classical. CD. Editions Henry Lemoine #27365D. Published by Editions Henry Lemoine (LM.27365D).

ISBN 9790231701678.

ALBE NIZ : Malaguena - BACH : Scherzo (3e Partita en La min.) - BARTOK : Danse populaire roumaine n. 1 - BEETHOVEN : Bagatelle en Mib Op.33 n. 1 - BOUTRY : Danse de la puce - CHABRIER : Melancolie - CHOPIN : Mazurka en La min. Op.68 n. 2 - Valse Op.69 n. 1 - DEBUSSY : Danse de la poupee (La Boite a joujoux) - DVORAK : Andante en La mineur (Suite Op.98) - GRANADOS : Epilogue - Vals muy lento - GRIEG : Le Lutin Op.71 n. 3 - HAENDEL : Allegro (7e Suite en Sol mineur) - KODALY : Kindertanz - Klavierstucke Op.11 n. 3 - MENDELSSOHN : Romance sans paroles Op.62 n. 1 - MOZART : Allegro (Sonate en Ut maj. KV 545) - POULENC : Le Petit elephant (L'Histoire de Babar) - PROKOFIEV : Visions fugitives op.22 n. 3 - Visions fugitives op.22 n. 10 - Visions fugitives op.22 n. 11 - REGER : Albumblatt - SCARLATTI : Sonate en Si mineur - SCHONBERG : Kleine Klavierstucke Op.19 n. 5 - Le Cavalier - Romance en Sib maj. Op.124 n. 11 - SCRIABINE : Prelude Op.2 n. 2 - SMETANA : Feuillet d'album en Si mineur - TCHAIKOVSKI : Perce-neige (Avril).

Violin and Piano. Composed by Various. String. Classical. Softcover. 256 pages. G. Schirmer #LIB 2152. Published by G. Schirmer

BWV 1001-1006. By Lawrence Golan. For Violin. Solos. Classic. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 96 pages. Published by Mel Bay Publications, Inc.

Cello quintet - Grade 6-8

SKU: ST.C360

Composed by J Remy. String music. Study score. Clifton Edition #C360. Published by Clifton Edition (ST.C360).

ISBN 9790570813605.

Gavo tte en Rondeau from Violin Partita No.3 (BWV 1006).

Paper, daylight and candles were often in short supply during Bachâ??s very busy lifetime but simply to view the autograph score in his hand of the Sonatas and Partitas for solo violin is to be bound into a spell by the beauty, skill and extempore furiosity of the script. The cycle has been described as a miracle of implied harmony and rich harmonic textures, â??its freshness and maturity, its depth, its beauty, its response to all moodsâ? informing a work of humanity and genius unparalleled in all the literature for solo violin.

The present arrangement of the Gavotte en Rondeau from Partita No. 3 (BWV1006) is based on Rachmaninoffâ??s intricate harmonisation for piano. â??Ruht Wohlâ?? from the St. John Passion (BWV 245). In the final Chorus from the St. John Passion, Bach imbues the popular dance-forms of the Sarabande and Minuet with a spiritual theme of atonement and reconciliation. The three ritornelli stand like pillars in a palindromic structure whose unbroken melodic line and flowing counterpoint represent a â??timeless continuanceâ??. The original scoring is light and transparent, and transfers appropriately to a choir of cellos without the loss of any counterpoint. Prelude Op. 25 No 3 by Rachmaninoff. Throughout his career as a composer and virtuoso pianist, this Prelude was one of Rachmaninoffâ??s favourite pieces and he dedicated it to his teacher Alexander Siloti. A powerful structure is built up from a small rhythmic motif, reminiscent of Tchaikovskyâ??s representations of fate or Shostakovichâ??s of looming state power. This is contrasted with a lyrical middle section and a final phrase marked leggiero in which the music flies off into the air like a bird.