Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS146F

Composed by Kevin Ray. Carl Fischer Concert String Orchestra Series. Full score. 12 pages. Carl Fischer Music #CAS146F. Published by Carl Fischer Music (CF.CAS146F).

ISBN 9781491160855. UPC: 680160919451.

Retro spect looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.
Retrospect  looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS146

Composed by Kevin Ray. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. 10+10+16+16+10+12 pages. Carl Fischer Music #CAS146. Published by Carl Fischer Music (CF.CAS146).

ISBN 9781491160633. UPC: 680160919222.

Retro spect looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.
Retrospect  looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Piano (Piano)

SKU: HL.50586611

Piano compositions 1963-2009. Composed by Saul Cosentino. Ricordi Germany. Book Only. Composed 2011. Ricordi Berlin #SY2799. Published by Ricordi Berlin (HL.50586611).

Piano compositions by Saul Cosentino from the years 1963 to 2009. He became famous as composer and pianist of the Tango Nuevo era. However, his pieces illustrate many other musical aspects and very effective modern romantic piano music.

De Argentijnse componist en pianist Saul Cosentino wordt beschouwd als een van de beste componisten en uitvoerders van de moderne tango. RetroSpective bevat 14 composities voor piano die hij schreef van 1963-2009.

Klavier kompositionen aus den Jahren 1963 bis 2009 des argentinischen Tango-Komponisten und Pianisten Saul Cosentino, der als einer der besten Komponisten und Interpreten des modernen Tango gilt. Die wirkungsvollen, mittelschweren Stucke in diesem Buch zeigen jedoch noch viel mehr Facetten.

Il volume raccoglie le composizioni pianistiche di Saul Cosentino che vanno dal 1963 al 2009. Cosentino ha acquisito fama come compositore e pianista dell'epoca Tango Nuevo. I suoi pezzi presentano anche altre caratteristiche musicali: musica pianistica moderno-romantica di grande efficacia, difficolta media.

(Guitar TAB). For Guitar. This edition: Authentic Guitar TAB Edition. Artist/Personality; Book; Guitar Personality; Guitar TAB. Guitar Songbook. Rock. 96 pages. Published by Alfred Music

By Mccluskey. Organ. Level: 2 staff. Sacred organ. Published by Lorenz Publishing Company.

Piano (Piano)

SKU: HL.132439

Composed by A. Dutkiewicz. PWM. Classical. Book Only. Polskie Wydawnictwo Muzyczne #10144010. Published by Polskie Wydawnictwo Muzyczne (HL.132439).

ISBN 9788322407936. UPC: 884088972738.

Guitar

SKU: FG.55011-465-4

Composed by Mikko Heinio. Fennica Gehrman #55011-465-4. Published by Fennica Gehrman (FG.55011-465-4).

ISBN 9790550114654.

Thro ugh Green Glass is made up of four contrasting movements osasta (Allegro intenso-Pesante-Sostenuto -Energico), which are played attacca. The sharp cuts at the movement divider transfer the listener suddenly to a new atmosphere and sound texture. Only the final movement, Energico, grows organically into its own being, directly from the tranquil Sostenuto movement. Reoccuring rhythm ostinato 13/8 (8/8 + 5/8) is embedded in the genes of all movements. After the climax of the finale, a kind of synthesis is apparent: the heavy chords of Pesante movement make a reappearance; the final bars of the work are indeed a citation from the beginning of the work.
Though the guitar is not Mikko Heinio's own instrument, this work was born with a guitar on the composer's lap. This lends to the texture being idiomatic, very natural to the guitar, not letting the performer get off easy, though. The fast changes in texture, multiple playing techniques and snappy rhythmic drive with fast arpeggios call for iron-handed guitarist. The title of the work was given after the work was finished. In retrospect the composer says of the title: [the mental image is] green like the nature, fragile and clear as glass, as light filtered by certain frequences of chromium oxide.

String Orchestra

SKU: SU.25110030

For String Orchestra. Composed by Mikhail Johnson. Strings, String Ensemble. Full Score. Subito Music Corporation #25110030. Published by Subito Music Corporation (SU.25110030).

This reflective work was inspired by HBO's television series The Tudors in which the pope pronounced an apostolic blessing to the people of Vatican City from the Ubis et Orbis. This solemn work reflects the composer's yearning: gratefulness in retrospect to the year of old, and anticipation at the prospect of the new year.String Orchestra Duration: 6’ Composed: 2014 Published by: Johno Muzik Performance materials available on rental:.

SKU: BT.EMBZK128

Composed by Mihály Ittzés. Book Only. Editio Musica Budapest #EMBZK128. Published by Editio Musica Budapest (BT.EMBZK128).

English.

The work was composed to the poems by the Hungarian contemporary poet Dezs Tandori. It was premiered on June 1. 1984 in London, performed by BBC Singers, conducted by John Poole. The eight movements are arranged in three inner cycles. Because of thecomplex divisi situations and the double choir stting the work requires sixteen singers for each voice range; hence the number of singers required is 4 x 16 = 64.

Composed by Various Various. For Treble recorder and piano. Intermediate. Published by Forsyth Publications

Low Voice and Piano

SKU: HL.14029389

Composed by Cyril Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV275594. Published by Music Sales (HL.14029389).

High Voice and Piano

SKU: HL.14029388

Composed by Cyril Scott. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV275595. Published by Music Sales (HL.14029388).

Grade 3

SKU: CL.032-0393-01

Jazz Ensemble. Extra full score. Composed 1988. C.L. Barnhouse #032-0393-01. Published by C.L. Barnhouse (CL.032-0393-01).

Some wonderful work for flugelhorn along with mar velous ensemble writing are features of this haunt ing rock ballad. A perfect contrasting chart for festival programming.

By Mccluskey. Organ. Level: 2 staff. Sacred Organ. Published by Lorenz Publishing Company.

Violin & Orchestra

SKU: PO.ME02

Composed by John Ritchie. Study score - Softback score. Composed 1995. Promethean Editions #ME02. Published by Promethean Editions (PO.ME02).

ISBN 9780958346702.

The Partita is cast in three movements. The first derives its impetus from the soloist's opening gambit and the orchestral ritornello heard soon after. Their frequent reappearances enshrine a dorian tonality and embody a structure not unlike a rondo.The Arioso is for solo violin with support from the string orchestra in the main, an extended cantilena redolent of warm memories. Finally, in the rhythm of a jig, various of the concertante elements re-emerge. Woodwind and horns in the middle section and more especially the violin become increasingly prominent until near the end a cadenza for the soloist ponders fragments in retrospect before a final flourish.

By Frank Bridge. For Piano. Piano & Keyboard. Published by Stainer & Bell Ltd. (U.K. Import).

Grade 3

SKU: CL.032-0393-00

Jazz Ensemble. Solo. Score and set of parts. Composed 1988. C.L. Barnhouse #032-0393-00. Published by C.L. Barnhouse (CL.032-0393-00).

Some wonderful work for flugelhorn along with mar velous ensemble writing are features of this haunt ing rock ballad. A perfect contrasting chart for festival programming.

Horn and orchestra (solo: hn - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.PB-15163

Urtext edition based on HN 7255 (G. Henle Verlag, Munich). Composed by Richard Strauss. Edited by Hans Pizka. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Early modern. Full score. 88 pages. Duration 20'. Breitkopf and Haertel #PB 15163. Published by Breitkopf and Haertel (BR.PB-15163).

ISBN 9790004215890. 10 x 12.5 inches.

Richard Strauss composed his second horn concerto about 60 years after his first horn concerto, having recently considered that his actual creativity had come to an end with his opera Capriccio. The late work was just a wrist exercise and not by any means intended for publication during his lifetime, though it does not reveal the depressing circumstances of its genesis during World War II. In the key of E-flat major, with the classic three movements including a rondo finale, the concerto has is a reminiscence of its earlier sister work and seems like a nostalgic retrospect of his youth from an almost 80-year-old Strauss. Hans Pizka, editor of this work's first Urtext edition, has experienced the performance tradition and history of this concerto at first hand, both as a pupil of Gottfried von Freiberg, soloist of the world premiere, and also as the former solo hornist of the Bavarian State Opera in Munich.

By Eugene Mccluskey. Organ. Level: 2-staff. Sacred Organ. Published by Lorenz Publishing Company.

Alto Recorder and Piano - intermediate

SKU: BT.FORFZZ20

Tuition. Book Only. Forsyths Publications #FORFZZ20. Published by Forsyths Publications (BT.FORFZZ20).

Recital Pieces Volume 3 For Treble Recorder And Piano – 10 short pieces, in widely varying styles, edited by John Turner.

 

Contents:

 

Waltz for Jock, Op. 243 – John Gardner

 

Retrospect – Percy Young

 

A Cornish Carol – David Cox

 

Lament – Philip Cowlin

 

Reverie, Op. 113 – Arthur Butterworth

 

A Song from Norway – Roy Newsome

 

Pupazzetto – Emma Hancock

 

Mr. Pitfield’s Pavane – Norman Kay

 

VenusDancing – Alec Roth

 

Gigue – David Johnson

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.11442131S

Composed by Peter Schickele. Full score. Duration 26 minutes. Theodore Presser Company #114-42131S. Published by Theodore Presser Company (PR.11442131S).

UPC: 680160681006.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

By Bruce Emery. For Guitar. Arpeggios and Travis-Style patterns to accompany the voice. Level: beginning. Coil-bound book. 145 pages. Published by Skeptical Guitarist Publications.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.114421310

Composed by Peter Schickele. Set of Score and Parts. 74+21+20+22+19+21+19 pages. Duration 26 minutes. Theodore Presser Company #114-42131. Published by Theodore Presser Company (PR.114421310).

UPC: 680160680993.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

String Quartet

SKU: HL.14028273

Composed by Cyril Scott. Music Sales America. Classical. Score. Music Sales #NOV261239. Published by Music Sales (HL.14028273).

The String Quartet No.1 was composed in 1919, actually making it his fourth quartet, but it was the first to be published. It is scored in five movements: Prelude- Pastorale- Scherzo- Elegy- Rondo Retrospectivo.

Cyril Scott (1879-1970) was a British composer, pianist and poet. His most popular works, by which he is largely remembered today, were written in the years preceding the Second World War, however he continued to compose prolifically, in the face of indifference from the outside world, right up until his death at the age of 91. His music is predominantly in the Romantic style, and serves as a tasteful reminder of abygone age.

String quartet

SKU: FG.55011-689-4

Composed by Seppo Pohjola. Score and parts. Fennica Gehrman #55011-689-4. Published by Fennica Gehrman (FG.55011-689-4).

ISBN 9790550116894.

Sepp o Pohjola (b. 1965) composed his fifth string quartet, lasting about 20 minutes, in February-March 2018. He was inspired to write it by a visit to the Vincent van Gogh Museum in Amsterdam the previous year, where he was greatly impressed by the vast, comprehensive retrospective and especially the horrifyingly honest self-portraits. The soft opening tones bear an instruction alluding to Schonberg's Verklarte Nacht string sextet: the quiet music must be richly shaded. The notes in the canon-like part writing almost always change at different moments in each instrument, with a longer or shorter delay. The independent lines weave tightly together. The only dynamic is forte for minutes on end in the powerful closing section. Duration c. 20 minutes. Score (A4) and parts (B4).

SKU: PR.UE026108

Composed by Herbert Eimert. With Standard notation. Universal Edition #UE026108. Published by Universal Edition (PR.UE026108).

UPC: 803452006718.