SKU: SU.46200010

Clarinet, Violin & Piano Duration: 25 ' Composed: 1984 Published by: Verdehr Trio This publication contains two separate worksMedieval Suite composed by James NiblockTrio in B-flat transcribed by James Niblock Medieval Suite uses material from a variety of thirteenth through fifteenth-century sources. The second movement is a fantasy for clarinet solo based on a Gregorian Chant melody from the Liber Usualis. Trio in Bb Major, K358 is a transcription on one of four piano sonatas that Mozart composed for four hands. The objective of this transcription was to capture, as accurately as possible, Mozart’s intent had he scored this sonata of the trio. Michigan State University Press.

SKU: SU.46200040

Clarinet, Violin & Piano Duration: 28' Composed: 1994 Published by: Verdehr Trio The first movement, marked Allegretto, is in sonata-allegro form with extended recapitulations of the two major thematic ideas but varied both in music treatment and instrumentation. The second movement is a scherzo with a trio section interpolated throughout the movement. The third movement marked Adagio assai, is a large-canvassed, expressive slow movement in which a rhythmic motive heard in the first two movements is fully emphasized and used in building towards the climax of the movement. Michigan State University Press.

SKU: SU.46200090

Clarinet, Violin & Piano Duration: 22' Composed: 1988 Published by: Verdehr Trio Tripartita is a title invented for this score, a piece in three movements for three players. The first movement Elaborations is a sonata-like structure whose ideas evolve out of the harmonic succession heard as the background material of the opening passage. The second and third movements are based on essentially the same scalar and harmonic materials as the first; however, they are somewhat different in their moods and expression, in part because they both incorporate elements derived from popular music idioms of the early part of the twentieth century. The form of the second movement, Dances,is related to the nineteenth century scherzo with two trios; here, the scherzo sections are fast and jazzy,while the more relaxed digressions are, respectively, a ragtime-waltz and a tango. The third movement Blues with Variations follows without pause, and furthermore is linked structurally to the previous movements, since the chord sequence for the blues (and subsequent variations) is the same one employed from the very opening of the work. —William Averitt.