Triple Sonata

SKU: HH.HH331-FSP

ISBN 9790708092902.

This Sonata in A major belonging to the ‘London’ group was published by John Walsh in January 1704 as the opening work in a series of violin sonatas by different composers delivered to subscribers in twelve monthly instalments. It is also preserved in the manuscript in the British library containing seven violin sonatas by Bitti. It is an extrovert work well suited to public performance — we know that the Cremonese violinist Gasparo Visconti played it at Drury Lane Theatre. The structure follows a pattern that recalls a sonata da camera by Corelli: a prelude like movement followed in turn by a corrente, a slow, triple time movement resembling a sarabanda, and a giga. .

SKU: HH.HH448-FSP

ISBN 9790708146551.

In Sonata 7, in D major, Balicourt opens with a suave, intricately rhythmic Adagio. The following Presto, with its delightful interplay between flute and bass, including both octave doubling and stretto imitation, is the most skittish movement to emerge from the composer’s pen. The finale is a ‘sandwich’ movement, in which a Minuetto encloses a duple-metre Cantabile in D minor. Although the minuet could be said to exemplify one of those ‘easy’ movements referred to in Balicourt’s prospectus for subscribers, its complex, prescribed ornamentation requires sensitive handling. Sonata 8, in E minor, is strategically placed as the final work in the set, being one of the longest as well as the most conservative; adopting the traditional four-movement configuration, it continually harks back to the grand Handelian style. An eloquent Andante ushers in a Presto containing many, slightly academic, contrapuntal touches and much chromaticism. The subsequent Largo is only five bars long: its plain melodic line in minims and crotchets is the skeleton around which the flautist is expected to weave an elaborate embroidery. For the finale Balicourt introduces, in effect, a new version, in triple metre, of the second movement. The fact that all four movements are in E minor heightens the sense of unity, which is expressed very concretely through their sharing of some thematic material.

SKU: HH.HH332-FSP

ISBN 9790708092919.

The sonata in D minor captures the traditional mood of this key: serious minded and a little plaintive. The second of its four movements, a corrente like fast movement in triple metre, reminds one of Vivaldi in its insistence on a tiny, constantly repeated musical figure. In the other movements, however, Bitti shows a more typical side of his style where the free spinning out of melody, exquisitely shaped, dominates over strict repetition.

SKU: SU.32040021

Trombone & Piano Duration: 17' Composed: 2013 Published by: Amy Mills Music, LLC …the audience loved Red Dragonfly. Definitely a keeper in my repertoire! Dr. James Bicigo, Associate Professor of Trombone, University of Alaska, Anchorage Virtuoso piece, the dramatic first movement opens with a Bold statement followed by the beautiful love theme. It reaches up to the Cry of the Heart, then everything ruptures and crashes. Now the trombonist must rebuild and gain strength through dramatic cadenzas until reaching the recapitulation where the opening Bold melody is transformed into a majestic march in 3/4 time. The love theme returns, and the movement ends in triumph. The second movement is a setting of the famous Japanese folksong, Red Dragonfly. The trombonist and pianist play the lovely song amidst the sound of fluttering wings that appear and disappear like memories of the heart. Thank you to the Nihon Gakugeki Kyoukai Foundation for permission to use the melody in this trombone sonata. A solo glissando opens the third movement in American folk dance style with tongue in cheek and twinkle in both eyes. The subsequent variations include a perfect triple canon, a taste of New Orleans jazz, and a dramatic augmentation which spills into a flashback of the first movement’s love theme. This melts away and we recapture a glimpse of the Red Dragonfly melody, this time growing to the Triumphant restatement of the first movement’s main theme. And finally, the exuberant coda drives to a spectacular ending. Difficulty Level: Trombone 6 (Professional) Piano 5 (Advanced) See also Red Dragonfly, Concerto for Trombone and Band for the version with band accompaniment. See composer website for audio sample.

SKU: SU.80103049

Three movements: 1. Prologue-Cadenzas, rhythmically free through most of its length; 2. Threnody , a more introspectiv e slow movement; 3. Scherzo: Perpetuum mobile, in a quick unrelenting triple meter. Scordatura tuning of a whole step higher is used for the double bass Duration: ca 15' Published by: Columbia University Music Press.

SKU: BR.MR-1542

ISBN 9790004482353. 9 x 12 inches.

Hidden away in Gabrieli's Sacrae Symphoniae of 1597, among forty-five vocal compositions, lie sixteen works that make up one of the first great monuments of instrumental ensemble music; fourteen canzoni and two sonatas that surpass any of their genre at that time, and that were only rarely matched in the following decades, most often by Gabrieli himself. Gabrieli must be credited with many firsts in regard to the development of the canzona and sonata: he was the first to write for more than eight parts, and first to deploy his forces polychorally. He was first to contrast polyphonic and homophonic writing, and duple and triple meter, within the same piece, and was a pioneer in the use of tone colour - and specified instrumentation - for dramatic musical effect. Egon Kenton, in his Life and Works of Giovanni Gabrieli (American Institute of Musicology, 1967) sees as well the seeds of the concerto grosso and the solo concerto in Gabrieli's use of tutti and solo writing and his setting off of soloistic upper parts against frankly accompanimental lower parts. lt would not stretch the point to add that Gabrieli fleshed out his many innovations with musical materials of a high order, and that he handled his materials with consummate skill.

SKU: BR.MR-1551

ISBN 9790004482445. 9 x 12 inches.

Hidden away in Gabrieli's Sacrae Symphoniae of 1597, among forty-five vocal compositions, lie sixteen works that make up one of the first great monuments of instrumental ensemble music; fourteen canzoni and two sonatas that surpass any of their genre at that time, and that were only rarely matched in the following decades, most often by Gabrieli himself. Gabrieli must be credited with many firsts in regard to the development of the canzona and sonata: he was the first to write for more than eight parts, and first to deploy his forces polychorally. He was first to contrast polyphonic and homophonic writing, and duple and triple meter, within the same piece, and was a pioneer in the use of tone colour - and specified instrumentation - for dramatic musical effect. Egon Kenton, in his Life and Works of Giovanni Gabrieli (American Institute of Musicology, 1967) sees as well the seeds of the concerto grosso and the solo concerto in Gabrieli's use of tutti and solo writing and his setting off of soloistic upper parts against frankly accompanimental lower parts. lt would not stretch the point to add that Gabrieli fleshed out his many innovations with musical materials of a high order, and that he handled his materials with consummate skill.

SKU: SU.32040020

Solo Trombone, Band parts - picc, 2fls, 2 obs, EH, 2bsns, 3 cls, bcl, 2asx, tsx, bsx, 4 hns, 3 tpts, 3 tbns, euph, tba, timp, 3 perc Duration: 17' Composed: 2013 Published by: Amy Mills Music, LLC …the audience loved Red Dragonfly. Definitely a keeper in my repertoire! Dr. James Bicigo, Associate Professor of Trombone, University of Alaska, Anchorage Virtuoso piece, the dramatic first movement opens with a Bold statement followed by the beautiful love theme. It reaches up to the Cry of the Heart, then everything ruptures and crashes. Now the trombonist must rebuild and gain strength through dramatic cadenzas until reaching the recapitulation where the opening Bold melody is transformed into a majestic march in 3/4 time. The love theme returns, and the movement ends in triumph. The second movement is a setting of the famous Japanese folksong, Red Dragonfly. The trombonist and pianist play the lovely song amidst the sound of fluttering wings that appear and disappear like memories of the heart. Thank you to the Nihon Gakugeki Kyoukai Foundation for permission to use the melody in this trombone sonata. A solo glissando opens the third movement in American folk dance style with tongue in cheek and twinkle in both eyes. The subsequent variations include a perfect triple canon, a taste of New Orleans jazz, and a dramatic augmentation which spills into a flashback of the first movement’s love theme. This melts away and we recapture a glimpse of the Red Dragonfly melody, this time growing to the Triumphant restatement of the first movement’s main theme. And finally, the exuberant coda drives to a spectacular ending. Difficulty Level: Trombone 6 (Professional) Band 5 (Advanced) See also Red Dragonfly, Sonata for Trombone and Piano for the version with piano accompaniment. See composer website for audio sample. Performance materials available on rental only:.

SKU: SU.00220639

TRIPLE VOLUME! All on 1 USB Flash Drive 1. Bach: Complete works for Organ - This CD Sheet Music™ collection brings together all of Bach's major works for organ. Includes: Orgel-Büchlein(with alternate versions), Clavier-Übung, Chorale Preludes, German Organ Mass, The Art of the Fugue, The Musical Offering, and more. 2. Baroque Organ Works - This CD Sheet Music™ collection brings together several hundred works by 17th and 18th masters of the Baroque organ tradition. Composers include: Buxtehude (Preludes, Toccatas, Fuges, Chorale Preludes); Froberger (Canzonas, Capriccios, Fantasias, Ricercares, Toccatas); Handel (Concertos); Pachelbel (Preludes, Toccatas, Fantasies, Fugues, Ricercares, Chorale Preludes, Fugues on the Magnificat, Canon in D); Sweelinck (Chorale Preludes & Variations, Fantasias, Variations on Secular Songs & Dances, Toccatas); and more 3. French Romantic Organ Music - This CD Sheet Music™ collection brings together over 150 works comprising the great 19th century French organ repertoire. Dupré (Prelude & Fugue, Op 7, Les Vêpres de la Vierge); Franck (Grand Pièce Symphonique, Pièce Heroïque, Prélude, Fugue et Variation, L'Organiste: 59 Pieces for Harmonium); Gigout (Gregorian Album, Ten Pieces for Organ, Grand Choeur Dialogué); Guillmant (Sonatas Nos. 1-5, Christmas Carols, Op. 60, Organiste Liturgiste, Op. 65); Honegger (Fugue, Chorale); Ropartz (Rhapsodie sur Deux Noëls Populaires); Saint-Saëns (Trois Rhapsodies sur des Cantiques Bretons, Marche Religieuse, Sept Improvisations, Op. 150); Satie (Messe des Pauvres); Tournemire (Sortie, Pièce Symphonique, Variae Precis, Op. 21, Triple Choral, Op. 41); Vierne (Symphonie Nos. 1-4, Messe Basse, 24 Pieces in Free Style); Widor (Symphony Nos. 1-8, Symphonie Gothique, Symphonie Romane) Also includes biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 3800+ pages.

SKU: BT.EMBZ14893

The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.