SKU: SU.32040150
From delightful to lonesome to fiery, this three movement suite invites both performers and listeners to share the joy of being enveloped in richness of tone, creating poignant expressions of the heart. Marvelous recital and concert music. Vignette I: Delightful Dance Jaunty rhythms and clever surprises render a joyful opening section. Later, a warm, love filled melody is poured out by each instrumentalist, and climbs to a glorious tutti. Then it is back to the joyful dance, a few more surprises, and a delightfully happy ending. Vignette II: Lonesome Chaconne opens with two dark chords. Then the piano begins the chaconne with a mournful bass line and plaintive off beats. The viola enters and plays a lonesome melody, then is joined by the cello in a melancholy duet over the chaconne until it dies away. The cello's brief recitative emerges from the depths into an aching cry that is then echoed by the viola. Joining together, they pour out a fervent melody, moving higher and higher until they breakthrough to the light. Alas, the vision fades, and they return to only fragments as the chaconne disappears. Vignette III: Fiery Fugue opens with a feisty subject melody, first in the viola, followed by the cello, piano right hand, and left hand. It is similar in form to a Bach fugue, but uses modal tonality and syncopated rhythms. The statements and episodes build to a recall of the fervent melody from the second movement, leading to the final dynamic unison statement of the fugue subject. Just as it almost dies away, it recharges and boldly bounds ahead to the end. Difficulty Level: 5 (Advanced) Viola, Cello, Piano Duration: 13'30 Composed: 2016 Published by: Amy Mills Music, LLC See composer website for audio sample.
SKU: HL.48189250
UPC: 888680959302. 8.0x11.0x0.105 inches.
Morel Bloch Chaconne En Trio Flute/Bvlg/Basso Cont Score/Parts.
SKU: HL.49003832
ISBN 9790001038379. UPC: 073999774931. 7.25x10.75x0.093 inches.
Includes works by G.F. Handel and J.S. Bach.
SKU: FP.FED01
ISBN 979-0-57050-351-3.
This striking trio, for the usual baroque trio-sonata combination, is a portrait in music of the redoubtable Ida Carroll, portraying her singlemindedness and quiet authority, as well as her liveliness and humour. It ends with a loving chaconne (her epitaph).
SKU: IG.PFS201
9 x 12 inches.
My first piano sonata was started when I was in college, but was recently revised. The main key is B-flat Major, with the first theme of the first movement being a fanfare. The second theme is more lyrical in nature, in D-flat Major. After an exposition repeat, the development deals mostly with the fanfare material. The recapitulation is by-the-book, with a sudden, surprising coda. The slow movement, placed second, has the character of a chaconne, using two different major scales in the treble and bass clefs. The tempo quickens to a dance, and an explosive climax. From out of the ashes comes the beginning of the piece, modified from it's original state. The scherzo played rather fast, mostly in octaves. There is a short trio which was influenced by Prokofiev's Fifth symphony. After the dacapo, the movement disappears into thin air. The last movement is a Rondo. The material for the A section is taken from the opening measures of the piece. The B and C sections are developments of the other themes of the first movement. The sonata ends with much finality.
SKU: BR.EB-8424
You will need a copy of BG 1002 for each player to perform the version for variable instrumentation (BG 1004).
ISBN 9790004185254. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.
SKU: BR.EB-9074
ISBN 9790004179499. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: VIII version for violoncello Tokyo: October 14, 1989.
SKU: HL.14008689
ISBN 9780711966826. 8.0x10.0x0.193 inches.
Easy mixed duets for descant and treble recorders to play together, suitable for two players or for class ensembles. The 22 duets feature a wide range of well-known arrangements including folk songs, spirituals, Latin American dances, blues and classical favourites as well as original pieces by John Pitts. The material is precisely graded so that both the descant and treble parts progress gradually in difficulty and range of notes. The Teacher's book contains piano accompaniments for all the pieces, as well as some additional pitched/unpitched percussion parts.
SKU: BR.EB-9397
ISBN 9790004188712. 9 x 12 inches.
SKU: PR.114419070
ISBN 9781491113493. UPC: 680160671540. 9 x 12 inches.
Martin Amlin’s first recital work for Trumpet and Piano brings all the iridescent excitement that has intrigued other performers. Composed for his renowned colleague Terry Everson, Amlin’s sonata pours new wine into old bottles with its three movements titled: 1. Invention, 2. Chaconne, and 3. Moto Perpetuo. The publication provides solo parts for both C and E-flat Trumpet. Composer and pianist Martin Amlin has received grants from the National Endowment for the Arts, Tanglewood Music Center, Massachusetts Cultural Council, Massachusetts Artists Foundation, St. Botolph Club Foundation, and the Massachusetts Council for the Arts. He was a recipient of an ASCAP Grant to Young Composers and has received many ASCAPlus Awards. He has been a resident at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony, where he was named a Norlin Fellow.Much of Amlin’s music is characterized by a pungent tonality and energetic rhythms. His Sonata for Piccolo and Piano and Sonata No. 2 for Flute and Piano both won the National Flute Association’s Newly Published Music Competition. Concerto for Piccolo and Orchestra was premiered by the Atlanta Symphony Orchestra,and he has had performances of his music by the Pro Arte Chamber Orchestra, Tanglewood Festival Chorus, John Oliver Chorale, Back Bay Chorale, Webster Trio, and the American Vocal Arts Quintet. He has had commissions from the Seattle Flute Society, Pacific Serenades, the Chicago Flute Club, ALEA III, the James Pappoutsakis memorial flute competition, pianist Andrew Willis, and clarinetist Michael Webster.Martin Amlin is Chairman of the Department of Composition and Theory at Boston University and Director of the Young Artists Composition Program at the Boston University Tanglewood Institute. He is also recipient of Boston University’s Kahn Award for his Piano Sonata No. 7. He studied with Nadia Boulanger at the Ecoles d’Art Américaines in Fontainebleau and the Ecole Normale de Musique in Paris, and received masters and doctoral degrees as well as the Performer’s Certificate from the Eastman School of Music. Mr. Amlin has appeared as soloist with the Boston Pops Orchestra in performances of Mendelssohn’s Piano Concerto No. 1 and Gershwin’s Rhapsody in Blue, and has performed on the Boston Symphony Orchestra’s Prelude concerts at both Symphony Hall and Tanglewood. He has also appeared on the FleetBoston Celebrity Series and been pianist for the M.I.T. Experimental Music Studio and the New England Ragtime Ensemble. He has often been heard live on Boston’s WGBH radio station as both performer and composer, and has given world premieres of many new works.Martin Amlin has recordings on the Albany, Ashmont Music, Centaur, Crystal, Folkways, Hyperion, Koch International, Opus One, Titanic, and Wergo labels. .
SKU: BR.EB-9300
ISBN 9790004187647. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmerm ann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109World premiere: Stuttgart, Hospitalkirche, March 28, 2018.
SKU: BR.EB-9160
ISBN 9790004181966. 9 x 12 inches.
