SKU: AY.MIG18
ISBN 9790302116707.
From program notes by Christina Dahl: Schoenfeld has described his Three Intermezzi (for Piano Solo) as one of a very few works he has written simply to please himself. In his words, 'Here is music my hands feel like touching with sounds my ears enjoy perceiving.' Its three movements were written at different times, but coalesced into a single work. The Three Intermezzi explore an interior world devoid of anything ostentatious. Schoenfeld's signature counterpoint--echoing both Bach and Brahms--is evident throughout. The music is intimate, serene and contemplative. 'It's the sort of music I improvise at night with the lights out and the house empty,' he says. The first Intermezzo quotes a bit of a Bach prelude, then develops it in waves and spirals that course up and down the keyboard. The second Intermezzo emerges from a single repeated note into an oscillating minor third and finally into a dark and soulful Sicilienne. The third Intermezzo, as long as the other two combined, explores the boundaries where decidedly crafted music and mediation combine..
SKU: SU.80101495
Suite in Three Movements (2021) for harpsichord was commissioned by Scott Hyslop. The three movements take their inspiration and forms from early models. They combine allusions to common practice harmony with later harmonic and rhythmic elements. The first movement, Concerto, is in a bright, Italianate manner (not without a bit of humor). The animating contrast is between ripieno (ritornello) sections and filigree-driven solo episodes. The second movement, Arioso, is a lyric aria in which the baroque-like principal material is integrated with more varied harmonic excursions. The third movement, Sonata, is a vibrant binary movement in the manner of Domenico Scarlatti.Harpsichord Duration: 13’ Composed: 2021 Published by: Zimbel Press.
SKU: CY.CC3137
ISBN 9790530111062. 8.5 x 11 in inches.
Suite Espanola, Op. 47 is a suite of four movements for solo Piano written in 1886 in honor of the Queen of Spain. After the composer's death, his editor added an additional four movements to the piece. Mr. Sauer has taken three of these movements for his marvelous arrangement for Tuba or Bass Trombone and Piano. Granada Asturias Sevilla Each piece is based on a region of Spain and is honored with a unique dance celebrating the area's character. This arrangement of fourteen minutes in length is suitable for advanced performers.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: MN.70-901A
UPC: 688670006869.
Festival anthem in three movements, text adapted from The Song of Solomon, RSV. Capable high school, college, community women's choruses. Opening movement with independent flute obbligato; remaining movements add harp and organ. Primarily homophonic three-voice choral writing in outer movements contrasted with independent, linear movement. Changing meter in all movements. Few vocal rhythmic difficulties; rhythmically complex material assigned to harp/flute. Competent players required.
SKU: PR.110418490
ISBN 9781491137260. UPC: 680160690022.
Carter Pann writes, the piece might have been titled Three Improvisations, but there is an expressive inertia baked in to these works which makes them truer as rhapsodies. This description tells us much about the work, whose movements are an enterprising tango, a bombastic central movement with virtuosic thrust, and a and a hymn heard from afar without any sense of marked time.Three Rhapsodies was commissioned by the American Composers Forum with complete support from the Thelma E. Hunter Fund. The premiere performance took place in Kilbourn Hall at the Eastman School of Music in Rochester, New York by pianist Marina Lomazov.As with all of my piano works, this was very much an at-the-piano compositional experience. As a pianist I cannot imagine writing a solo work away from the instrument (though at times that would be quite convenient).The whole work explores a palette of impassioned emotions – sometimes veiled, sometimes emboldened, or even outrageous at times. There are technical freedoms in each movement, allowing the pianist to stretch their interpretive inclinations to great lengths. In this way the piece might have been titled Three Improvisations, but there is an expressive inertia baked in to these works which make them truer as rhapsodies.The first movement is a tango with real wanderlust. The second reminds me of Rachmaninoff’s Polka de W.R. in its bombast, but also Chopin’s sixteenth prelude with its sheer virtuosic thrust. The third is a hymn heard from afar with no rhythmic drive, only sheened sonority.
SKU: AP.1-ADV7082
UPC: 805095070828. English.
Three as 1 by David Liebman was commissioned by the World Saxophone Congress in 2015 and first performed by Jean-Charles Richard and Eric Ferrand-N'Kaoua. This three-part composition incorporates intimate sounds from the piano and B-flat soprano saxophone and collective improvisation which culminates in the energetic third movement. Exclusively available as a digital download from notafina: Link: https://en.notafina.de/shop/three-as-1.html.
SKU: CY.CC2623
Gounod's Three Romances Without Words arranged by Ralph Sauer are taken from a group of five similarly named Romances Without Words originally composed for Piano solo between 1861 and 1866. Four of them were later arranged for Violin and Piano.The three movements are titled:1. The Periwinkle (La Pervenche)2. The Brook (Le Ruisseau)3. The Evening (Le Soir)The three movements (all in bass clef) are very lyrical, about 8 minutes in length, and are perfect for intermediate and higher level performers to begin to learn the finer points of phrasing. The highest note is F-flat above the staff.
SKU: CY.CC2591
Gounod's Three Romances Without Words arranged by Ralph Sauer are taken from a group of five similarly named Romances Without Words originally composed for Piano solo between 1861 and 1866. Four of them were later arranged for Violin and Piano.The three movements are titled:1. The Periwinkle (La Pervenche)2. The Brook (Le Ruisseau)3. The Evening (Le Soir)The three movements (all in bass clef) are very lyrical, about 8 minutes in length, and are perfect for intermediate and higher level performers to begin to learn the finer points of phrasing. The highest note is G above middle C.