| Massachusetts: A Musical Tribute Piano seul - Intermédiaire Alfred Publishing
By Bernadine Johnson. For Piano. Piano Suite; Piano Supplemental; Sheet; Solo. R...(+)
By Bernadine Johnson. For
Piano. Piano Suite; Piano
Supplemental; Sheet;
Solo. Recital Suite
Series. Form: Suite.
Recital. Late
Intermediate. 12 pages.
Published by Alfred Music
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| You Can't Chop Your Poppa Up In Massachusetts Music Sales
| | |
| Sonata For Trumpet And Piano Trompette, Piano Theodore Presser Co.
Chamber Music Piano, Trumpet SKU: PR.114419070 Composed by Martin Amlin. ...(+)
Chamber Music Piano,
Trumpet SKU:
PR.114419070 Composed
by Martin Amlin. With
Standard notation. 20+16
pages. Duration 9
minutes. Theodore Presser
Company #114-41907.
Published by Theodore
Presser Company
(PR.114419070). ISBN
9781491113493. UPC:
680160671540. 9 x 12
inches. Martin
Amlin’s first
recital work for Trumpet
and Piano brings all the
iridescent excitement
that has intrigued other
performers. Composed for
his renowned colleague
Terry Everson,
Amlin’s sonata
pours new wine into old
bottles with its three
movements titled: 1.
Invention, 2. Chaconne,
and 3. Moto Perpetuo. The
publication provides solo
parts for both C and
E-flat
Trumpet. Composer and
pianist Martin Amlin has
received grants from the
National Endowment for
the Arts, Tanglewood
Music Center,
Massachusetts Cultural
Council, Massachusetts
Artists Foundation, St.
Botolph Club Foundation,
and the Massachusetts
Council for the Arts. He
was a recipient of an
ASCAP Grant to Young
Composers and has
received many ASCAPlus
Awards. He has been a
resident at Yaddo, the
Virginia Center for the
Creative Arts, and the
MacDowell Colony, where
he was named a Norlin
Fellow.Much of
Amlin’s music is
characterized by a
pungent tonality and
energetic rhythms. His
Sonata for Piccolo and
Piano and Sonata No. 2
for Flute and Piano both
won the National Flute
Association’s
Newly Published Music
Competition. Concerto for
Piccolo and Orchestra was
premiered by the Atlanta
Symphony Orchestra,and he
has had performances of
his music by the Pro Arte
Chamber Orchestra,
Tanglewood Festival
Chorus, John Oliver
Chorale, Back Bay
Chorale, Webster Trio,
and the American Vocal
Arts Quintet. He has had
commissions from the
Seattle Flute Society,
Pacific Serenades, the
Chicago Flute Club, ALEA
III, the James
Pappoutsakis memorial
flute competition,
pianist Andrew Willis,
and clarinetist Michael
Webster.Martin Amlin is
Chairman of the
Department of Composition
and Theory at Boston
University and Director
of the Young Artists
Composition Program at
the Boston University
Tanglewood Institute. He
is also recipient of
Boston
University’s Kahn
Award for his Piano
Sonata No. 7. He studied
with Nadia Boulanger at
the Ecoles d’Art
Américaines in
Fontainebleau and the
Ecole Normale de Musique
in Paris, and received
masters and doctoral
degrees as well as the
Performer’s
Certificate from the
Eastman School of Music.
Mr. Amlin has appeared as
soloist with the Boston
Pops Orchestra in
performances of
Mendelssohn’s
Piano Concerto No. 1 and
Gershwin’s
Rhapsody in Blue, and has
performed on the Boston
Symphony
Orchestra’s
Prelude concerts at both
Symphony Hall and
Tanglewood. He has also
appeared on the
FleetBoston Celebrity
Series and been pianist
for the M.I.T.
Experimental Music Studio
and the New England
Ragtime Ensemble. He has
often been heard live on
Boston’s WGBH
radio station as both
performer and composer,
and has given world
premieres of many new
works.Martin Amlin has
recordings on the Albany,
Ashmont Music, Centaur,
Crystal, Folkways,
Hyperion, Koch
International, Opus One,
Titanic, and Wergo
labels. . $18.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hypernikon Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1196114-140 More Than Conq...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1196114-140
More Than
Conquerors. Composed
by Jan Van der Roost.
Brilliant Marches.
Concert March. Score
Only. Composed 2019. 23
pages. De Haske
Publications #DHP
1196114-140. Published by
De Haske Publications
(BT.DHP-1196114-140).
English-German-French-
Dutch. The Greek
word
‘hypernikon’
roughly translates as
‘More Than
Conquerors’, the
motto of Gordon College
in Wenham, Massachusetts
the commissioner of this
piece. The work is
inspired by David
Rox’s very own
name the first two
letters of his name, D
and A, sets the first
theme is in D major, with
these notes being the
tonic and dominant of the
scale. After the stately
intrada, the tempo
accelerates and the
festive feel of the march
emerges. The trio melody
serves as a beautiful
contrast before finally
ending with the opening
theme in a grand
tutti.
Het
Griekse woord
‘hypernikon’
betekent zoveel als
‘meer dan
veroveraars’ en
More Than
Conquerors is de
lijfspreuk van het Gordon
College in Wenham,
Massachussets (VS). Het
eerste thema is gebaseerd
op de noten die in de
naam David Rox terug te
vinden zijn. Na deze
plechtige intrada
wordt het tempo
opgedreven en komt de
mars op gang met
feestelijke klanken. De
triomelodie contrasteert
mooi met dit alles: aan
het slot wordt het
openingsthema hernomen in
een groots
tutti.
Das
griechische Wort
hypernikon“
bedeutet grob
übersetzt mehr als
Eroberer“, was auch
das Motto Auftraggebers,
das Gordon College in
Wenham, Massachussets
(USA), ist. Das erste
Thema basiert auf Noten,
die man in David Rox'
Namen findet. Nach einer
imposanten Intrada
wird das Tempo schneller
und ein festlicher Marsch
erklingt. Die
Trio-Melodie bildet einen
wunderschönen
Kontrast, bevor das
Stück schließlich
mit dem Anfangsthema in
einer großen
Tutti-Orchestrierung
wiederkehrt.
Le
mot grec
hypernikon
signifie, en gros, «
être plus que
vainqueur », qui est
la devise du
commanditaire, le
Collège Gordon de
Wenham, au Massachusetts
(États-Unis). Le
premier thème est
fondé sur les notes
que l’on trouve
dans le nom de David Rox.
Après cette
majestueuse
intrada, le tempo
s’accélère
et les sonorités
festives de la marche se
font entendre. La
mélodie du trio
apporte un splendide
contraste avant une
conclusion qui reprend le
thème d’origine
dans un grand
tutti. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hypernikon Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1196114-010 More Than Conq...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1196114-010
More Than
Conquerors. Composed
by Jan Van der Roost.
Brilliant Marches.
Concert March. Set (Score
& Parts). Composed 2019.
De Haske Publications
#DHP 1196114-010.
Published by De Haske
Publications
(BT.DHP-1196114-010).
English-German-French-
Dutch. The Greek
word
‘hypernikon’
roughly translates as
‘More Than
Conquerors’, the
motto of Gordon College
in Wenham, Massachusetts
the commissioner of this
piece. The work is
inspired by David
Rox’s very own
name the first two
letters of his name, D
and A, sets the first
theme is in D major, with
these notes being the
tonic and dominant of the
scale. After the stately
intrada, the tempo
accelerates and the
festive feel of the march
emerges. The trio melody
serves as a beautiful
contrast before finally
ending with the opening
theme in a grand
tutti.
Het
Griekse woord
‘hypernikon’
betekent zoveel als
‘meer dan
veroveraars’ en
More Than
Conquerors is de
lijfspreuk van het Gordon
College in Wenham,
Massachussets (VS). Het
eerste thema is gebaseerd
op de noten die in de
naam David Rox terug te
vinden zijn. Na deze
plechtige intrada
wordt het tempo
opgedreven en komt de
mars op gang met
feestelijke klanken. De
triomelodie contrasteert
mooi met dit alles: aan
het slot wordt het
openingsthema hernomen in
een groots
tutti.
Das
griechische Wort
hypernikon“
bedeutet grob
übersetzt mehr als
Eroberer“, was auch
das Motto Auftraggebers,
das Gordon College in
Wenham, Massachussets
(USA), ist. Das erste
Thema basiert auf Noten,
die man in David Rox'
Namen findet. Nach einer
imposanten Intrada
wird das Tempo schneller
und ein festlicher Marsch
erklingt. Die
Trio-Melodie bildet einen
wunderschönen
Kontrast, bevor das
Stück schließlich
mit dem Anfangsthema in
einer großen
Tutti-Orchestrierung
wiederkehrt.
Le
mot grec
hypernikon
signifie, en gros, «
être plus que
vainqueur », qui est
la devise du
commanditaire, le
Collège Gordon de
Wenham, au Massachusetts
(États-Unis). Le
premier thème est
fondé sur les notes
que l’on trouve
dans le nom de David Rox.
Après cette
majestueuse
intrada, le tempo
s’accélère
et les sonorités
festives de la marche se
font entendre. La
mélodie du trio
apporte un splendide
contraste avant une
conclusion qui reprend le
thème d’origine
dans un grand
tutti. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Soldier's Carol Chorale SATB SATB A Cappella Schirmer
Composed by Ronald Perera. Advanced/Collegiate. Catholic Year A The Nativity of ...(+)
Composed by Ronald
Perera.
Advanced/Collegiate.
Catholic Year A The
Nativity of Our Lord.
Secular, Christmas,
21st Century. Octavo.
Duration 4 minutes, 40
seconds. Published by
E.C. Schirmer Publishing
(EC.8320).
$2.85 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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