Night Shift

Contents include: After Hours; Butterscotch Blues; Double Dare; Double or Nothing; Jump Start; Keep the Change; Last Curtain Call; Masquerade; Midnight Blue; Night Shift; No Left Turn; Third Time's a Charm.

Round me falls the night. for SATB unaccompanied William Romanis's hymn text is brought to life in this enchanting anthem with unexpected harmonic shifts and fluctuating time signatures. Rooney glides gracefully between tonal centres, creating a beautiful, ethereal atmosphere. Also published in Breath of Song.

The simplicity of this work for mixed voices is captivating! With interesting 6/8 and 3/4 alternating meters major/minor shifts and imitative vocal textures your choirs will create a special concert moment!

POD-Nico Muhly's Pulses Cycles Clouds for large mixed Percussion ensemble was written for the 50th anniversary of the Boston University Tanglewood Institute. At its core it is a group of four marimbas surrounded by various bells and other mallet instruments; unpitched instruments here are primarily played by an ensemble of amateur percussionists. The piece obsesses over a cycle of eleven chords introduced slowly through the beginning of the piece. Each chord is announced by a large vertical moment with bells vibraphone and a sudden shift in tonality. The four marimbas then relax into a series of soft interlockingpatterns over which an ensemble of glockenspiels and crotales plays a simple rhythm in a complex relationship to the other instruments. Eventually the pulse disintegrates entirely into a vision of a night sky; insects unexpected interruptions - a walk around a quiet landscape. Eventually the pulse returns but nocturnally subdued. The piece is meant to echo in its way the thrill of community music making the joy of sharing a pulse and the various connections both rhythmic and interpersonal I made at BUTI two decades ago. - Nico Muhly

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.

This collection contains 15 incredibly detailed transcriptions written in standard notation and tab, spanning from McLaughlin's debut album, Extrapolation (1969) to Miles Davis' landmark jazz-rock fusion album, Bitches Brew (1970), to the Indian-infused The Inner Mounting Flame (1971) and Birds of Fire (1973) by the Mahavishnu Orchestra- to the acoustic flamenco album Friday Night in San Francisco (1991) featuring the guitar trio of McLaughlin, de Lucia and Di Meola- to McLaughlin's jazz trio album After the Rain (1994). Explore exotic modes, rapid-fire phrasing and shifting time signatures from the teachings of the master of fusion guitar. Titles include: Birds of Fire - Celestial Terrestrial Commuters - The Dance of Maya - Extrapolation - Follow Your Heart - Guardian Angel - John McLaughlin - Lila's Dance - Marbles - Meeting of the Spirits - Miles Beyond - My Foolish Heart - Noonward Race - Peace One - Take the Coltrane. / Guitare

26 Sparking movie Sheet Music Hits from an exciting new series. Presented here for piano and voice with guitar chord boxes.

The collection Little Stories consists of 16 short expressively varied piano pieces. The interpretation is suggested by the title referring to the imagination the world of fairy tales everyday children's matters and observation of nature. The majority of the miniatures can be easily performed after few months of study; the level of difficulty corresponds to the last stage of learning with the hadbook by Agnieszka Lasko – First Class Piano. In some of them (Drowsy Cloud Sunrise Cuckoo Song The Princess and the Knight Winter Moon) an element of improvisation is used creatively engaging the young pianist; thanks to the composer's ingenuity any attempt at free music making shall be successful. The advantage of the pieces is their melody factor (memorable naturally wandering themes). The miniatures are also characterized by simplicity of texture and harmony (slightly colored with dissonant chords) a playful tone (e.g. playing with shifting accents in Little Monster Stomp) or dance-like-character (the waltz Ballerina Tarantela). The composer also took care of the fingering and the use of pedals which facilitates the playing. Sophisticated illustrations painted by Ma gorzata Flis help to develop the pupil's sensivity.

String Quartet No.2 was composed by Hans Abrahamsen in 1981. Programme note: Hans Abrahamsens's second string quartet was commissioned by the Lerchenborg music-week of 1981 during which it was first performed by the Gaudeamus Quartet. In Hans Abrahamsen's second quartet it is the continuous alternation of soberness and drama that first catches the listner's ears: the lyrical/gestural tradition as we know it from Arnold Schoenberg and Alban Berg pitched - not against - but around the 'sober barbarism' which is characteristic of rhytmic neo-classicism. Both the first and the last movement of th is quartet are emotional at manylevels: sad - and still seething with life and always unpredictable in their development it is night twilight and white-hot light. Sparkling diamonds set off by scarlett velvet. The two middle movements link the contrasts without cushioning: the second movement a gruelling stripped rhythmical drill followed by a hushed far-off dance in triple meter which shifts and hesitates all the time though. There is an ambience of the classics glimpsed through many veils. The second quartet is music which is fraught with danger in its ambiguous relation to tradition: the past emerges as a most relevant and living ghost. The Beauty and the Beast as musical drama.

Opening in a prayerful mood this arrangement shifts quickly to a foot-stomping Sunday night revival! The delightful Lead Me to That Rock is paired with Rock of Ages and Leaning on the Everlasting Arms for awonderful celebration of faith and assurance.Available separately: SATB Instrumental Pak (Full Orchestra) and ChoirTrax CD.

14 art songs dating from 1925 to 1944 as masterly performed by Teresa Stratas on the Nonesuch record. Includes: Berlin im Licht-Song * Buddy on the Nightshift * Es regnet * Je ne t'aime pas * Klops Lied * Nanna's Lied * Youkali (Tango Habanera) * and more.
1. Bo's Boogie
2. Budgie
3. Calm Seas
4. Cool It!
5. Emerald Isle
6. Honk Your Horn!
7. Hot Potato
8. Insects
9. Lullaby
10. Minor Mission
11. One Step At A Time
12. Skateboard Ride
13. The Race
14. The Secret Garden
/ Partitions classique / Vocale - chorale / Choeur et ensemble vocal / HAL LEONARD