Ten Little Canons

SKU: BR.EB-9355

ISBN 9790004188194. 9 x 12 inches.

Little Cadenzas, Canons and Preludes for Pianoforte, an album of 36 piano miniatures in all keys of the circle of fifths and in church modes, as well as two preludes by Eusebius Mandyczewski (1857-1929) that modulate through all keys, are presented here for the first time in print. Mandyczewski, who went down in music history as a Brahms friend, editor and archivist of the Vienna Musikverein, composed numerous vocal and piano works, including twelve Orthodox liturgies and two cycles of variations on themes by George Frideric Handel. The album, a birthday present from the composer to his twelve-year-old daughter Virginia, was written in the middle of the First World War and was not premiered publicly until a century later - after the manuscript was found in a Ukrainian library - at the Mandyczewski Festival in Chernivtsi (Ukraine) in 2017. Mandyczewski shows himself here as a master of the small form and counterpoint, but also as a demanding teacher - and so the pieces, once reserved for his daughter, will now be made accessible to a wider circle of young musicians to enjoy.

SKU: SU.28150020

A 21st century homage to the canonic arts and Mozart's famous piano variations. This suite takes the genre of canonic variations to the next level in terms of the number of variations, the variety of transformations, and the addition of rare and non-traditional canon types, such as table canons and interscalar canons by intervallic augmentation. For sample scores and media, visit Piano Duration: 40' Composed: 2020 Published by: Nathan L. Lam Music.

SKU: 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.

SKU: ST.Y223

ISBN 9790220221521.

It's often a composer's experience that the idea planted in one piece may also germinate unexpectedly in another, which is how Gaslight Square II, a seven-minute scherzo for piano duet, grew from a brief study of boogie-woogie style in Gaslight Square1 for solo piano. So, in addition to this jazz-derived element that is developed and extended in the more ambitious piece, there's also a set of little canons shared between the players, and a wistful melody heard in the setting of haunting four-part counterpoint.

Players of Grades 7 or 8 standard and above will find Gaslight Square II not only hugely enjoyable to play but also a valuable study in duet textures that require their interaction in a variety of characteristic ways.

Duo Antithesis premiered Gaslight Square II at the Ruglander Wasserschlosse in Bavaria, Germany in July 2005, and the work has been broadcast on Bavarian Radio.

SKU: PR.342401310

UPC: 680160055050. Text: Phillips Brooks. Phillips Brooks.

SKU: HL.49014419

ISBN 9780901938183. English.

SKU: HL.14023608

ISBN 9780711932982. 9.0x12.0x0.128 inches.

Score for this piece, which was comissioned by London Brass and first performed in 1992. Quoting composer: The piece was completed without title on 12th August 1992. A title once considered was Canons, Chorales and Waltzes, but this was dropped since there was only one canon (the opening) and only genuine waltz (apart from a passage towards the end which superimposes the canon over a waltz rhythm). The following day I read the paper that John Cage had died - the day I finished writing. For this reason, but mainly because Cage was the most revolutionary practical music thinker of the 20th century, this piece is dedicated to him. His influence on my music may be perceived under the 'very un-Cagein' surface: though stylistically there may be little in For John Cage that may have been to his taste, I hope he would at least have appreciated its diversity, its non-simultaneous multiplicity. Parts are available on hire or special order. Duration 15 minutes.

SKU: HL.50490316

SKU: AP.36-A168301

ISBN 9798892702195. UPC: 659359651441. English.

Francisco de Madina (1907-1972), also known as Aita Madina, received his education in Bordeaux and was ordained a priest in 1929. He served his first parish in Buenos Aires and became director of a school in Cuidad de Salta. During this time, he began to develop as a composer and started to premiere his work in Buenos Aires. His primary influences included Debussy, Ravel and Prokofiev. In 1955, he moved to New York, where he founded a residence for the Lateran Canons Regular. His music began to enjoy performances in America and Spain. The Basque Children Overture, a perfect header for a family-themed concert, amuses with playful snippets of Twinkle, Twinkle Little Star, march-like rhythms, and a whirling finish. Instrumentation: 2+Picc.2+EH.2.2: 4.3.3.1: Timp.Perc(3): Hp.Clst: Str(9-8-7-6-5 in set).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.14006097

ISBN 9788759872222. Danish.

Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).

SKU: HL.14065782