SKU: HL.49012378

ISBN 9790001128056.

The Violin Concerto, written in 1928, is one of Egk's most significant instrumental works. It is indicative of the contemporary climate of innovation as reflected in the development of new genres for chamber orchestra, ensembles and soloists, as for example in Hindemith's chamber music pieces, Weill's Concerto for Violin and Woodwind, Berg's Chamber Concerto, and the Concerto and Capriccio by Stravinsky. The chamber orchestra with 16 players was considered a type of instrumentation appropriately contemporary for variety of uses and was frequently referred to in contemporary literature and discussions on Neo-classicism, Neue Sachlichkeit, functional music, music for radio, etc.

SKU: HL.49011070

ISBN 9790001113700. 9.0x12.0x0.09 inches.

Three challenging pieces by the Latvian-born composer, in his characteristic idiom of traditional and folk elements incorporated with contemporary influences.

SKU: MB.WBM58M

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

SKU: HL.49044247

ISBN 9790001198851. 9.0x12.0x0.08 inches.

SKU: HL.49008169

ISBN 9790001123082. 9.0x12.0x0.079 inches.

'Trioline' is a collection of seven short, very easy pieces, intended for one or several players to a part. A much needed and enjoyable addition to the contemporary violin repertoire for teaching ensemble playing to beginners.

SKU: ET.PNO75

ISBN 9790207010339.

Suite No. 1, written by Richard Lane between his 20th and 22nd year, marks the beginning of the high level music he composed for solo piano.
The five movements follow one soul state after another. Polichinelle: Lane skillfully lets the notes run, essentially in two voices, on a Presto rich in changing meters. Nocturne: A slow movement animated with great emotional delicacy. Berceuse: All of Lane’s art is expressed in his mastery of simplicity. Waltz: A moderato 3/4 with rhythmic eighth notes and a clever central passage. Epilogue: An Allegro molto agitato that requires a high level of virtuosic execution from both hands.
Suite No. 1 was the first of four works dedicated to Mary K. Green-Traver (Lane’s friend and contemporary at the Eastman School of Music) between 1953 and 1963.

SKU: AP.36-M326991

UPC: 660355184079. English.

Max Bruch (1838-1920) was a German composer and contemporary of Johannes Brahms, with a style very much in the same Romantic classicism camp as that of his better known friend.  Best known for his violin concerti and choral works, his chamber works are also revived occasionally.  This reprint collection of short Romantic works for piano include the following: I. Andante sostenuto, II. Andante con moto, III. Impromptu.  Allegretto, IV. Moderato, V. Walzer. Grazioso, and VI. Andante con larghezza.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: HL.48181789

UPC: 888680788360. 9.0x12.0x0.071 inches.

Composed in 1956 by Bohuslav Martinu, the Sonatina for Bb Clarinet and Piano is a neo-classical piece. This work, to be played as a single movement has been written in three different sections: Moderato, Andante and Poco Allegro. The rhythms are reminiscent of a polka and a march and the piece contains unexpected syncopation. Being one of Bohuslav Martinu's later works, it was written in New York, after he spent some time in Paris. Bohuslav Martinu (1890-1959) was a Czech composer and a violinist. Even though he was interested in different styles, including romanticism, jazz and expressionism, he wrote mainly neo-classical pieces, including 16 symphonies, 14 ballets and 15 operas.

SKU: HL.48181759

UPC: 888680863074. 9.0x12.25x0.059 inches.

Composed by Roger Boutry, Tubaroqueis a melodious piece of baroque music for Tuba, Bb Bass Saxhorn or Bass Trombone with Piano accompaniment. Quite difficult, it would be perfect for advanced players and would work well in a concert. Starting with a small introduction in three measures, the first part of the piece begins on a Slow Waltz movement which consists of a main theme with two variations, including one played an octave lower. The second part Allegretto is more lyrical and the last one Moderato/Allegro, starts like a march to then go back to a more melodious finale. Roger Boutry is a French musician and contemporary composer who received eight First Prizes at the Conservatoire, including composition, conducting and Piano. He also won the Grand Prix de Rome in 1954 and some prizes by the SACEM and by the city of Paris. He also got involved as a professor of Harmony and director of Orchestras..

SKU: CY.CC2869

Jan Freidlin's lush and beautiful Romantic Concerto for Trombone, Piano and Strings was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.
A 4 1/2 minute sample of the Concerto (on our site) is beautifully performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.
Below is what the composer has written about his work:
Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.
The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds of divisi strings. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which the Piano makes its first appearance, adding rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the orchestra and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.

The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic.
Jan Freidlin

SKU: IS.G6766EM

ISBN 9790365067664.

This sonata (WeissSW No. 52, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXXIII is a unique copy. It comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.