PARTITIONS GRATUITES : 2 VIOLONCELLES (DUO)
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Recently Discovered Solos from the Archives of Saul Goodman. Composed by Saul Goodman. Edited by musical interpretations and editing by Anthony J. Cirone. Percussion - Snare Drum Collection. Book. 32 pages. Alfred Music #00-0586B. Published by Alfred Music

Published by Faber Music Ltd. ISBN 9780571527632. 'If you can't be famous be infamous.' The Chicago musical has captured the imagination of audiences everywhere for many years. The recent film starring Catherine Zeta-Jones and Renee Zellweger brought the tale to an even wider audience. This album contains twelve songs from the stage production.

4 musicians

SKU: OU.9780193564503

Composed by Michael Finnissy. Mixed Ensemble. 118 pages. Oxford University Press #9780193564503. Published by Oxford University Press (OU.9780193564503).

ISBN 9780193564503. 12 x 8 inches.

For up to four musicians with (optional) assistant and pre-recorded tape(s). Recent Britain confronts several of the preoccupations of the media in Britain in the late 1990s: immigration, paedophilia and the death of Princess Diana among them. Each performer is required to read excerpts from newspapers of the time, often cut down to a few evocative words and layered in a way that suggests a musical scrapbook of an era and creates and intriguing performance.

Chamber Music Piano

SKU: CF.P3325

Composed by Frederic Sharaf. Performance Score. With Standard notation. 2 pages. Carl Fischer Music #P3325. Published by Carl Fischer Music (CF.P3325).

ISBN 9780825897450. UPC: 798408097455.

Benni ngton, VT composer Frederic Sharaf had written many solos for Mezzo-soprano with his wife Jane in mind. Our recently released Three Settings from Imitations by Robert Lowell (CF.V2498) was premiered by Jane in a competition in 1971, which allowed her to undertake a summer study program at Yale. After a lifetime in music and education, Jane Sharaf passed away in August, 2007. Frederic continues to compose, in part as catharsis, with a string of love ballads for Mezzo-soprano and piano, among his other works. Many of these ballads, including The Anniversary (above) and the Three Settings, were recently released on CD by Kara Cornell and Michael Clement. The duo also performed these works in Albany, in a concert entitled Gems of the Region: Music by Local American Composers. We are pleased to make available three more representative works by Frederic Sharaf for piano solo.

Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clarinet, Clarinet 1, Clarinet 2, Claves, Contrabass, Contrabassoon, Cowbell, Crotales, English Horn, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Maracas, Marimba, Oboe 1 and more.

SKU: PR.11641737S

Composed by Steven Stucky. Study Score. 68 pages. Duration 9 minutes. Merion Music #116-41737S. Published by Merion Music (PR.11641737S).

ISBN 9781491136133. UPC: 680160688432.

Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.

By Richard Hunter. For Harmonica. Boogie, Jazz. Sheet Music and Audio CD. 128 pages. Published by Oak Publications.