Short Fantasy

SKU: HL.48181517

UPC: 888680842079. 9.0x12.0x0.085 inches.

The great Italian Fantasy is a piece composed by Eugene Bozza and transcribed for Alto Saxophone and Piano by Marcel Mule. Quite difficult, it requires some advanced skills to be executed perfectly. Starting Moderato, it opens with a cadenza which includes some Solo Saxophone sections and continues with a short and lyrical melody. It closes on a nice rhythmic section in Allegro. Really nice to play and to listen to, Italian Fantasy is amazing to demonstrate your skills and technical abilities during a recital and a concert. Eugene Bozza won different prizes at the Conservatoire de Paris such as the First Prizes for the Violin, conducting and composition, as well as the Grand Prix de Rome. He composed several operas, chamber works and ballets among others..

SKU: PR.144402290

UPC: 680160027316.

The theme that opens my Fantasy-Variations permeates the harmonic and melodic life of the 24 short episodes and coda that follow. However, in a few sections the relationships with the theme are more hidden than explicit; the fanciful connections between these portions and the opening theme suggested the work's hybrid title. Yet even in these more wide-ranging variations the opening theme is usually still hovering nearby, often as a quiet presence contrasting with more animated gestures. The piece may be understood as a kind of dream journal: a chain of brief entries that seem to vary greatly, yet rotate about a fixed constellation of types and obsessions, speaking a language of images at once logical and impossible, familiar and mysterious. I wrote the Fantasy-Variations for the Leonardo trio in 1991 with the support of a National Endowment for the Arts Fellowship in composition.
The theme that opens my Fantasy-Variations permeates the harmonic and melodic life of the 24 short episodes and coda that follow.  However, in a few sections the relationships with the theme are more hidden than explicit; the fanciful connections between these portions and the opening theme suggested the work’s hybrid title.  Yet even in these more wide-ranging variations the opening theme is usually still hovering nearby, often as a quiet presence contrasting with more animated gestures.The piece may be understood as a kind of dream journal: a chain of brief entries that seem to vary greatly, yet rotate about a fixed constellation of types and obsessions, speaking a language of images at once logical and impossible, familiar and mysterious.I wrote the Fantasy-Variations for the Leonardo trio in 1991 with the support of a National Endowment for the Arts Fellowship in composition.

SKU: CY.CC2990

ISBN 9790530058091.

Fantasy and Fugue in D minor BWV 905 is one of Bach's least known works originally written for keyboard. The Fantasy is of moderate tempo and relatively short. The top two lines have many suspensions while the bottom line (optionally performed on Tuba) is scalelike. The Fugue is more lengthy with the top lines trading off short repeated passages while the bass line winds around alternating scales and octave jumps.
Mr. Sauer's excellent arrangement is appropriate for advanced performers and is about 6 minutes in length. All parts are in bass clef.

SKU: SU.80101410

Fantasy-Variations on Two Themes (2017) for organ was written for Heinrich Christensen in celebration of his significant 2017 birthday. The musical material for the work comprises two different themes. The first is a short melody by the Danish composer Carl Nielsen (1865-1931). (It was a sketch originally intended for inclusion in, but ultimately left out of, Nielsen's late organ work 29 Little Preludes.) This theme represents Heinrich's native Denmark. The second theme is the American folk-gospel hymn Angel Band. This theme represents Heinrich's adopted American homeland. It serves also as a remembrance of our dear mutual friend Harry Lyn Huff (1952-2016), for whom the tune was a particular favorite. Both these themes are developed freely in a set of alternating fantasy-variations. The opening variation begins with a dramatic pedal solo before quoting both themes. The second variation is a lyric setting based on the Nielsen melody. The third is a jubilant hornpipe on Angel Band. The fourth is an aria on a transformation of the Nielsen melody. The fifth is a gigue-toccata on Angel Band. The sixth is an atmospheric contemplation: lush chords in the manuals move slowly and hint at Angel Band while the Nielsen melody is heard for the first time in its complete original form on a high pedal stop. The seventh and final variation begins with a brief evocation of the harmonies of the late Daniel Pinkham (a mentor to both Heinrich and me) before going on to return dramatically and jubilantly to the opening music, bringing together both themes again in a bold conclusion. Instrumentation: Organ Duration: 15' Composed: 2017 Published by: Zimbel Press.

SKU: WE.GMM266SC

Composer Rudgers here draws a delightful fantasy treatment from the mid-1800's folk song about grizzled old mountain man Dan Tucker. Opening aggressively with a short fanfare based on the main melodic motive of the song, the work soon segues into a tender, beautifully harmonized ballad. This lyrical section gives way to a hoedown replete with a foot-stomping, hand-clapping section that is fun for all players. Don't miss this highly creative and entertaining take on a classic piece of Americana!

SKU: CY.CC3085

ISBN 9790530110621. 8.5 x 11 in inches.

Fantasy Piece is an early work of Rachmaninoff, part of a grouping of five short pieces called Morceau de Fantasie. One of his most famous works, the Prelude in C-sharp minor is from this same group of music. Opus 3, No. 3 is also sometimes referred to as the Melody in E major. It's slow tempo allows the mood of the work to reach a giant climax. Rachmaninoff's lush harmonies and gorgeous melody work very well with this arrangement by Ralph Sauer. For moderately advanced performers this movement is about 5 minutes in length.

SKU: BT.PMC3933

A short work that, in the composer's words, Lives in the world between maqam (Arabic modes) and gentle counterpoint. All parts are written within the singing range of the human voice. Intermediate Level.