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.12800030
BachScholar Edition Vol. 30 – 4 Medieval Portraits (18 pages) offers advanced-level pianists and concert artists four programmatic concert pieces of immense musical interest, imagination, and virtuosity, all of which have medieval titles and employ medieval style compositional devices (i.e., open and parallel fifths, tetrachord progressions, metric modulations, a statement of Dies irae in No. 4, etc.). The cycle takes a total of ca. 17 minutes to perform in entirety, although the pieces can also be performed singly or in pairs: 1. In Days of Yore 2. The Jester’s Delight 3. The Old Castle 4. St. George and the Dragon Piano Composed: 2011 Published by: BachScholar.
SKU: HL.48184179
Gerard Spiers: Le Pierrot medievale (Piano solo).
SKU: SU.80101352
Keyboard Duration: 5' Composed: 2014 Published by: Zimbel Press The formal inspiration for this piece came from early Italian keyboard toccatas (those of Frescobaldi are probably the most famous today, though there are certainly many others). However, the early influences do not come exclusively from a single source. The toccatas of Hassler, the ricercari of Steigleder, the fantasias of Cornet and Kerckhoven, the fugues of Couperin, and anonymous late medieval keyboard music all are thrown into the mix, and blended with a contemporary use of mixed modality. This piece may be played on any keyboard instrument (organ, piano, harmonium/reed organ, harpsichord, clavichord, or electronic keyboard).
SKU: SU.28030050
Tres piezas or three tableaux is inspired by medieval diptychs. The pieces (except the initial movement) are two-part works in which the formal boundaries are blurred. solo piano Duration: 18' Composed: 2006-7 Published by: Distributed Composer.
SKU: HL.49044938
ISBN 9790220126758.
Exhilarating and celebratory, the rhythmic demands of Dance Works as well as its physical nature are closer to rock, jazz and even medieval music.'Dance works' was written specifically for dance theatre and originally scored for the Steve Martland band. Martland's own arrangement for 2 pianos retains all the rhythmic power of the ensemble version but opens up new possibilities for concert performance or small scale or touring dance companies.
SKU: SU.27110070
Ether is a solo piano piece based on the medieval English carol known as the Coventry Carol, whose unusually dark text deals with the biblical legend of King Herod’s massacre of all his kingdom’s children surrounding the birth of Christ. Solo Piano Duration: 4’ Composed: 2007 Published by: Raymond J. Lustig Music.
SKU: B7.B495
8.5x11 inches.
La Sonata modello The Template Sonata for solo piano by Howard J. Buss is dedicated to pianist James Helton. The music traverses a wide rage of moods and sonic atmospheres. The composer designed a template of meter changes derived from the numerical series in mathematics codified by the medieval Italian mathematician, Leonardo Fibonacci. In this adaptation of the Fibonacci sequence each number represents a quarter note and is expressed in the succession of meters 4/4, 3/4, 5/4, 4/4, 4/4, 5/4, 3/4, 5/4, 4/4, 4/4, 4/4, 4/4, and 5/4. This series of measures is repeated throughout the work. While each 13-bar segment implies that the music fits into a particular metrical scheme, the composer exerts independence in a variety of ways, such as with phrasing that sometimes ignores the underlying structure. Buss states: This metrical template was at times useful, but often seemed arbitrary and counter to the thrust and development of the musical material. My challenge was to find a way to work with the template while using its rigidity to spark creative solutions. Although the music evolves within the template, my ultimate goal was that the listener be unaware of the structural underpinnings and simply enjoy the beauty of the music..
