Format : Score and Parts
SKU: HL.49010834
ISBN 9790001096706. UPC: 073999637540. 9.0x12.0x0.082 inches.
Contents: Light Suites in C (Variations) * Three Folksong dances * Three light Pieces in C Major * Four little Studies * Light Sonatina in G * Abends will ich schlafen gehn (Variations) * Prelude and March in E minor.
SKU: HL.4008656
ISBN 9798350115079. UPC: 196288189855.
Folk dances are widespread throughout Greece. In this composition formed by three movements, Franco Cesarini elaborates some typicaldances of the Greek folk tradition by making use of three traditional folk songs, developing them freely. The first movement is a kalamatianos, a festive dance that has roots dating all the way back to antiquity and is considered the national dance of Greece. Its most distinctive feature is the irregular 7/8 rhythm. Depending on the occasion and the dancers’ level of skill, certain steps may be taken as jumps or squats. The second movement represents a zeibekiko. Contrary to most of the traditional Greek dances, the zeibekiko is not a dance performed in a group; it doesn't have any step to follow, only certain figures. The third movement, an hasapiko, is a traditional dance with roots from Constantinople. It serves as the inspiration for the “sirtaki†and progresses from a slow to a faster pace. The hasapiko is performed in a line or open circle formation, with each dancer placing his on the neighbour's shoulders.
SKU: HL.4008657
UPC: 196288189862.
SKU: PR.11441684S
UPC: 680160625253. 9 x 12 inches.
On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China.My chamber ensemble work Three Dances From China South is commissioned by Music From China tocelebrate its 30th anniversary, and scored for Chinese traditional instruments dizi, erhu, pipa, and zheng. The commission has been made possible by the Chamber Music America Classical CommissioningProgram, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.  The world premiere is given at Weill Recital Hall in Carnegie Hall in New York City, on November 21, 2014.  My Three Dances From China South is dedicated to Susan Cheng, the founder and Executive Director of Music From China, to celebrate the 30th anniversary of MFC. There are three movements in my Three Dances From China South for dizi, erhu, pipa, and zheng.  Thematerial in the first movement Lions Playing Ball is drawn from a folk tune played in the accompanyingensemble for the folk dance under the same title in Chaozhou region in Guangdong province.  The image of the folk dance is vivid and entertaining.  The movement includes several variations on the theme.  The variation methods are inspired by the various rhythmic patterns used in the traditional ensemble playing. The melodic material features a special mode with a tritone interval taken from the folk tune.  There are also lyrical sections with polyphonic layers in the variations.The music in the second movement is inspired by the folk Bamboo Dance, which is popular in Li minoritypeople from Hainan Island in the south.  The aged old folk dance is for ritual ceremony and harvest celebration in the history, in which there are pairs of people holding the ends of the long bamboo rods and clapping them loudly in stable pulse, for groups of dancers to dance between the bamboo shapes on the floor, in musical rhythms and ensemble patterns.  A musical motive with a jumping interval and articulation is used throughout the movement.The third movement is called Lusheng Dance.  I have witnessed the folk dance performance of the Dong minority people in Guangxi province in the 1980’s.  The exciting scene inspired me to imitate the large lusheng ensemble playing style in my ensemble of four Chinese instrumental musicians without using the sheng (a wind instrument with metal pipes that is popular in concert music, and similar to the folk lusheng).  On top of the rhythmic patterns, I imitated a two--voice folk song of Zhuang minority people in the same province.  The melody is played by the leading erhu and dizi.—Chen Yi.
SKU: PR.114412930
UPC: 680160571604. 8.5 x 11 inches. Text: Li Bai. Li Bai. Three poems by Li Bai (701 - 762).
It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time. In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems. Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work. --Chen Yi.It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time.In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems.Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work.—Chen Yi.
SKU: SU.96010580
Transcribed and arranged for Piano by Lawrence RosenA new, 3-volume set of Mozart Dances for Piano, 14 of these dance suites are faithfully transcribed for piano at the early to advanced intermediate level. Almost all appear as new Mozart music for piano (except for the Six German Dances, K. 509, which Mozart himself arranged for piano.) Within each volume, they are arranged by increasing difficulty. They are eminently suited for teaching, recital and concert performance, encores, recording, sight-reading practice, and theoretical study. We sincerely hope you enjoy them as much as we did in discovering and creating these little masterpieces. CONTENTS Six Country Dances, K. 462 (originally for 2 oboes, 2 Horns, 2 Violins, Violoncello/Contrabass) Three German Dances, K. 605 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Bassoons, 2 Horns (Posthorn,) 2 Trumpets, 2 Violins, Violoncello/Contrabass, Timpani, Tuned Bells) Six German Dances, K. 571 (originally for 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass, Timpani, Tambourine, Cymbals) Six German Dances, K. 600 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass, Timpani) Four Minuets, K. 601 (originally for 2 Flutes, 2 Oboes, 2 Clarinets, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Bass, Timpani) Instrumentation: Piano Duration: Composed: Published by: Subito Music Publishing.
SKU: PR.114417570
ISBN 9781491107867. UPC: 680160636013. 9x12 inches.
The famous set of dances by Norway's greatest composer were written for piano duet. Grieg later created a piano solo version, but refused to orchestrate the set. After some study of Grieg and his music, Michael Webster has arranged the four dances for Flute, Clarinet, and Piano in a faithful setting, using the piano duet version as a guide. This lively Grieg classic will be a welcome new addition to performance programs. For advanced performers._______________________________________Text from the scanned back cover:Born in 1944, MICHAEL WEBSTER made his New York recital debut at Town Hall in 1968 with his eminent father, Beveridge Webster, as pianist. In the same year, he won the Young Concert Artists International Competition and succeeded his teacher, Stanley Hasty, as Principal Clarinet in the Rochester Philharmonic, a position he held for twenty years. Webster has performed with the Chamber Music Society of Lincoln Center, the 92nd Street Y, with the Tokyo, Cleveland, Muir, Ying, Enso, and Dover String Quartets, and with the festivals of Marlboro, Santa Fe, Norfolk, Chamber Music Northwest, Angel Fire, Steamboat Springs, Park City, Sitka, Kapalua, Bowdoin, Orcas Island, Skaneateles, La Musica di Asolo, Stratford, Victoria, and Domaine Forget.As soloist he has appeared with many orchestras, including the Philadelphia Orchestra under Aaron Copland and the Boston Pops under John Williams. His travels have taken him as performer and teacher to most of the 50 states, as well as Canada, Mexico,Puerto Rico, Central and South America, Europe, Japan, China, Australia, and New Zealand. Webster was Acting Principal Clarinet of the San Francisco Symphony, and has served on the clarinet and/or conducting faculties of New England Conservatory, Boston University, University of Michigan, and the Eastman School, from which he earned his three degrees. Currently he is Professor of Music at Rice Universityâ??s Shepherd School of Music and Artistic Director of the Houston Youth Symphony, which has won multiple first prizes in national performance competitions.With his wife, flutist Leone Buyse, and pianist Robert Moeling, he plays in the Webster Trio, which has recorded his arrangements on Tour de France and World Wide Webster for Crystal Records. Otherarrangements were recorded for Nami and Camerata Tokyo in Japan with pianist Chizuko Sawa. Webster has also recorded for Albany, Arabesque, Beaumont, Bridge, Centaur, CRI, and New World. He has played at many ClarinetFests for the International Clarinet Association and written a column entitled â??TeachingClarinetâ? in The Clarinet Magazine since 1998. Michael Webster is a Buffet artist-clinician, performing on Buffet clarinets exclusively. NORWEGIAN DANCES (Grieg)Michael Websterâ??s transcriptions for Flute, Clarinet, and Piano have created the core literature for this instrumental genre. Working directly from Griegâ??s original piano four-hands version of the charmingly familiar Norwegian Dances, Webster has given flutists and clarinetists another addition to the ensembleâ??s repertoire.
SKU: PR.114416840
ISBN 9781491101285. UPC: 680160625239. 9 x 12 inches.
On the occasion of its 30th anniversary, the ensemble Music From China commissioned Chen Yi for a new work, which became Three Dances from China South, scored for Chinese instruments. Its three descriptive movements (Lions Playing Ball, Bamboo Dance, Lusheng Dance) are each inspired by folk dances from the southeastern provinces of China.Commissioned by the Barlow Endowment for Music Composition at Brigham Young University, the two-movement trio Tibetan Tunes was written for the New Pacific Trio (Igor Veligan, violin, Nina Flyer, cello, and Sonia Leong, piano). It was premiered at the Conservatory of Music at University of the Pacific on Jan. 27, 2007 in Stockton, California.The first movement is inspired by the Tibetan folk tune “Du Mu†as played on a recorder (Xiongling). This music presents the rich gestures of Du Mu (the name of a god in Tibetan Buddhism) in a serene mood.“Dui Xie†is a kind of Tibetan folk ensemble music using the same tune in the introduction and coda, played with the plucked instrument Zhamunie, the bamboo flute, and the fiddle Erhu, often performed with singing and tap dancing. The pitch materials of this movement are drawn from folk ensemble music and the lyrical Tibetan folk song “Amaliehuo.â€.
SKU: PR.114419480
ISBN 9781491131428. UPC: 680160677313. 9 x 12 inches.
Gary Schocker’s THREE DANCES FOR TWO FLUTES has long been a staple of the flute repertoire – in its original voicing with piano, as well as in transcriptions with string orchestra or band accompaniment, for alto saxophone duo with piano, and even in the composer’s flute quartet version of the famous Coffee Nerves movement. Schocker has arranged THREE DANCES for one solo flute with piano, incorporating all of the original work’s counterpoint, beauty, and spice, into this practical and concise instrumentation.
SKU: BT.AMP-480-140
English-German-French-Dutch.
Aurora Dances was commissioned by the Hong Kong-based Winter Band Festival, and consists of three movements, to be played without a break. ‘Aurora Borealis’ opens with florid woodwind figures and highlights different sections of the band in turn. The second movement ‘Aurora Australis’ leads to a sombre chorale, which builds to a full-band climax. The finale ‘Aurora Dances’ is characterised by rhythmic, dance-like themes. A central section features a contrasting legato melody, but this doesn’t dispel the energetic feel of the opening, which returns to close the work.Aurora Dances werd geschreven in opdracht van het Winter Band Festival in Hongkong. Het werk bestaat uit drie delen die in elkaar overlopen. ‘Aurora Borealis’ opent met sierlijke motieven in het hout en bevat korte, herhaalde frasen waarin de verschillende secties afwisselend in de schijnwerpers worden gezet. Het melancholieke koraal van deel twee, ‘Aurora Australis’, ontvouwt zich tot een climax in het hele orkest. Het laatste deel, ‘Aurora Dances’ wordt gekenmerkt door ritmische, dansachtige thema’s. Een middengedeelte bevat een contrasterende legato melodie, maar die gaat niet ten koste van het energieke gevoel van de opening, waarmee het werk wordtafgesloten. Aurora Dances wurde vom Winter Band Festival in Hongkong in Auftrag gegeben und wird ohne Pause gespielt. Aurora Borealis“ beginnt mit überschwänglichen Holzbläserfiguren und hebt abwechselnd verschiedene Sektionen des Blasorchesters hervor. Der zweite Satz, Aurora Australis“, führt zu einem düsteren Choral, der sich zu einem Höhepunkt des kompletten Orchesters aufbaut. Das Finale, Aurora Dances“, zeichnet sich durch rhythmische und tänzerische Themen aus. Ein zentraler Abschnitt ist durch eine kontrastierende Legato-Melodie geprägt, die jedoch die energiegeladene Stimmung des Anfangs nicht aufhebt, welche am Ende des Werkes wiederkehrtCommande du Festival hivernal des harmonies, basé Hong-Kong, Aurora Dances se compose de trois mouvements interprétés sans interruption. « Aurora Borealis » s’ouvre avec des figures élaborées aux bois et met en avant divers pupitres de l’orchestre. Le deuxième mouvement, « Aurora Australis », introduit un choral sombre qui aboutit un climax en tutti. Le final, « Aurora Dances », se caractérise par des thèmes rythmiques et dansants. Le passage central présente un contraste avec une mélodie legato, sans pourtant dissiper la sensation d’énergie du début qui revient pour clore la pièce.
