Five Movements

SKU: HL.236316

ISBN 9781495096228. UPC: 888680695699. 9.0x12.0x0.086 inches.

Rock and jazz sounds mingle with classical tradition and modern techniques in Hause's virtuoso cello suite. In Fish Heaven, an arpeggiated texture reminiscent of Bach's cello suites expands along a quasi-Gospel chord progression. In Crabs on Parade, the contrapuntal technique of crab canon is rendered in a pizzicato texture drawing upon guitar technique. In five movements: 1. Man O' War, 2. Atlantis, 3. Sea Serpents, 4. Fish Heaven, 5. Crabs On Parade.

SKU: CY.CC3063

ISBN 9790530110386. 8.5 x 11 in inches.

The Five Divertimenti K. 439b consists of 25 pieces originally scored for two clarinets or basset horns and bassoon. It is assumed that Mozart wrote these works for the Stadler brothers, Anton (famous for the Clarinet Concerto) and Johann. Originally scored in C major (Mr. Sauer has arranged them in keys that are more suitable for the Trombone), the 25 pieces were grouped into five movements each. The styles of the movements include Sonata-allegro, Minuet and Trio, Larghetto, Adagio, Rondo and even a Polonaise. This collection of the Five Divertimenti is an immense amount (about 45 minutes total) of very entertaining music, all beautifully arranged by Ralph Sauer for three advanced Trombonists.

SKU: CY.CC3070

ISBN 9790530110478. 8.5 x 11 in inches.

The Five Divertimenti K. 439b consists of 25 pieces originally scored for two clarinets or basset horns and bassoon. It is assumed that Mozart wrote these works for the Stadler brothers, Anton (famous for the Clarinet Concerto) and Johann. Originally scored in C major (Mr. Sauer has arranged them in keys that are more suitable for the Euphonium), the 25 pieces were grouped into five movements each. The styles of the movements include Sonata-allegro, Minuet and Trio, Larghetto, Adagio, Rondo and even a Polonaise. This collection of the Five Divertimenti is an immense amount (about 45 minutes and 120 pages total) of very entertaining music, all beautifully arranged by Ralph Sauer for three advanced performers. The third part may be performed on the Tuba.

SKU: AY.FG04

ISBN 9790302102144.

An original work for flute and guitar that includes five distinct movements including flowing melodies, rhythmic sections, and a bit of humor. Excellentfor recital programming, the movements may be played as a whole orindividually.

SKU: HL.50485814

ISBN 9780634092749. UPC: 073999858143. K/4 (23,5x31) inches. Hungarian, English, German. Kamillo Lendvay.

All five movements require perfect virtuoso elaboration: maximum precision combined with released humour that never fails to take the musical message completely seriously. The movements are: 'Boccacce', 'Con sentimento', 'Foxtrott', 'Flicorno romantico' and 'Finalissimo'. Movements 2 and 4 as well as 3 and 5 are interchangeable.

SKU: HL.48024090

ISBN 9781495097522. UPC: 888680694739. 6.75x10.5 inches.

Here are five “hymns” to the spirit of life. Calling on “modern” poetry, and certainly using the modern harmonic language that Mechem is so well known for, each movement is an answer to the previous movements questions. Each of the five movements can stand alone in a concert but together they create a celebration of life in all its diversity.

SKU: SU.90900010

SK 23239 Roberta Gumbel, soprano; Keith Phares, baritone; Lino Gomez, clarinet; Eric Bartlett, cello; Suzanne Ornstein, violin; Tom Schmidt, piano; Steven Mercurio, conductor Five Movements for My Father Pas de Deux A Cycle of Songs.

SKU: CY.CC3089

ISBN 9790530110669. 8.5 x 11 in inches.

The Five Pieces in Folk Style by Schumann were originally written for Cello and Piano. They have been beautifully arranged for Tuba or Bass Trombone by Ralph Sauer. The five movements are in contrasting styles and work very well for Tuba or Bass Trombone. Schumann was considered the Poet of the Romantics. His music is expressive; full of robust and elegant phrases. This work is appropriate for moderately advanced performers and is almost 17 minutes in length.

SKU: SU.80117601

Trumpet Duration: 12 ' Composed: 2002 Published by: Soundspells Productions Five Predictions (1976, rev. 2002) is a set of five movements for unaccompanied trumpet. The work was recorded by Kevin Cobb, who assisted the composer in preparing the 2002 revised edition.

SKU: SU.80101162

This stunning collection contains five useful organ compositions based on African-American spirituals. Treatments are exciting, original, and always highly appropriate. The five movements are: The Lord Is My Shepherd, I Want Jesus to Walk with Me, I Want to Be a Christian, The Old Ship of Zion, and Bless That Wonderful Name. 24 pages Published by: Zimbel Press.

SKU: CY.CC2922

The Five Pieces in Folk Style by Schumann were originally written for Cello and Piano. They have been expertly transcribed for Euphonium by Ralph Sauer, retired Principal Trombonist of the Los Angeles Philharmonic. The five movements are in contrasting styles and work very well for Euphonium. Schumann was considered the Poet of the Romantics. This music is expressive and full of robust and elegant phrases. For moderately advanced performers. The complete work is almost 17 minutes in length and can be a major work on your concert. Parts are supplied for bass and treble clef readers.

SKU: HL.117279

UPC: 884088887001. 8.5x11 inches.

Emma Lou Diemer's wit and style are on full display in this collection of short musical settings of limericks by her sister Dorothy Diemer Hendry (1918-2006). SSAA voices with piano, or 2 pianos and percussion. Movements include: A Wanna-be Poet, At the Derby, Homing Pigeons, The Beatles and a Beetle, Road Rag. Score and Parts for Two Pianos and Percussion available digitally. Duration: 11:00.

SKU: PR.11642169L

UPC: 680160692118.

Chine se mythology is a cultural heritage that has been passed down through the ages. It is full of bizarre andsupernatural artistic charm. Shan Hai Jing is like a history book, which contains many mythological stories depictingthousands of mountains and waters, geography and humanities, The Concerto for Orchestra Shan Hai Jing is using alarge scyle orchestra in multi-movements, inspired by the anceint supernatural aesthetics, and creates an imaginaryuniverse and human illusion with an abstract sound world. This work is not based on the story of the ancient gods, butbased on the geographical distribution of the Fivering Mountains, metaphorical waters, mountains range, folkcustoms, and rituals of the gods, depicting the north, west, east, south, and middle respectively in five movements. Thecharacteristics of the mountain system and the regional customs.The first movement, Beishan Jing (Largo) (page 1-30). In this movement, folk music elements such as the traditionalMongolian “Humai” and the traditional Tibetan “Bon’e’ri” are used to Ode the folk customs and heroism of the vastmountains and plains and different ethnic groups.The second movement, Xishan Jing (Allegro and Adagio) (page 31-52). The music of this movement has the westernstyle of Gansu and Qinghai Plateau.The third movement, Dongshan Jing (Adagio and Allegro) (page 53-86). The legend of great bells that ringspontaneously without being struck has origins in the ancient Classic of Mountains and Seas, in which we read:“Upon the Mountains of Plenty, Nine Bells ring with Knowledge of the Frost.”Tales of those blasts of wind that pulse like a heartbeat through caverns in the limestone cliffs, setting off a mysterioussympathetic ringing from bells encrusted in frost, led to “Frost-Bell” becoming a word during the Tang dynasty, almosta millennium after the Mountains and Seas classic first appeared.The fourth movement, Nanshan Jing (Adagio and Andante) (page 87-100) . The music is characterized by thewoodwinds and string harmonics texture depicting of the cloud mountain in the south of the Yangtze River, Fujian,Guangdong and Hunan.The fifth movement, Zhongshan Jing (Allegretto) (page 101-118) symbolizes the end of the ritual ceremony, which isroughly centered on the sacred place of Chu. The people danced together, waving flowers and hitting the bronze drums,just like sending the Divine Comedy, the scene is lively, the atmosphere is Solemn and lively.

SKU: PR.11642169S

UPC: 680160692101.

Chine se mythology is a cultural heritage that has been passed down through the ages. It is full of bizarre andsupernatural artistic charm. Shan Hai Jing is like a history book, which contains many mythological stories depictingthousands of mountains and waters, geography and humanities, The Concerto for Orchestra Shan Hai Jing is using alarge scyle orchestra in multi-movements, inspired by the anceint supernatural aesthetics, and creates an imaginaryuniverse and human illusion with an abstract sound world. This work is not based on the story of the ancient gods, butbased on the geographical distribution of the Fivering Mountains, metaphorical waters, mountains range, folkcustoms, and rituals of the gods, depicting the north, west, east, south, and middle respectively in five movements. Thecharacteristics of the mountain system and the regional customs.The first movement, Beishan Jing (Largo) (page 1-30). In this movement, folk music elements such as the traditionalMongolian “Humai” and the traditional Tibetan “Bon’e’ri” are used to Ode the folk customs and heroism of the vastmountains and plains and different ethnic groups.The second movement, Xishan Jing (Allegro and Adagio) (page 31-52). The music of this movement has the westernstyle of Gansu and Qinghai Plateau.The third movement, Dongshan Jing (Adagio and Allegro) (page 53-86). The legend of great bells that ringspontaneously without being struck has origins in the ancient Classic of Mountains and Seas, in which we read:“Upon the Mountains of Plenty, Nine Bells ring with Knowledge of the Frost.”Tales of those blasts of wind that pulse like a heartbeat through caverns in the limestone cliffs, setting off a mysterioussympathetic ringing from bells encrusted in frost, led to “Frost-Bell” becoming a word during the Tang dynasty, almosta millennium after the Mountains and Seas classic first appeared.The fourth movement, Nanshan Jing (Adagio and Andante) (page 87-100) . The music is characterized by thewoodwinds and string harmonics texture depicting of the cloud mountain in the south of the Yangtze River, Fujian,Guangdong and Hunan.The fifth movement, Zhongshan Jing (Allegretto) (page 101-118) symbolizes the end of the ritual ceremony, which isroughly centered on the sacred place of Chu. The people danced together, waving flowers and hitting the bronze drums,just like sending the Divine Comedy, the scene is lively, the atmosphere is Solemn and lively.

SKU: PR.144407050

UPC: 680160655519. 9 x 12 inches.

Celebrating 30 years, the Philadelphia Chamber Music Society commissioned a work of 20-25 minutes for violin and piano from James Primosch, University of Pennsylvania professor of music. Primosch had originally thought to create a new sonata, but what developed is more appropriately a set of five character pieces, two of which were directly inspired by poems. Five Poems was premiered in May, 2016, and Primosch's thoughts are recorded at his website: https://jamesprimosch.com /2016/05/10/five-poems-pr emiere/.
Upon receiving a commission from the Philadelphia Chamber MusicSociety for a violin and piano piece in honor of its 30th anniversary, myplan was to write a sonata, a term suggesting a relatively abstractdiscourse. But as the piece developed, the movements struck me ascharacter pieces rather than music employing a more “symphonic”ap proach. When specific poems started to attach themselves in my mindwith two of the movements, the overall title Five Poems became clear.The title of the second movement is a line from Susan Stewart’s“De scent”, which deals with Aeneas’s visit to the underworld. The musicis alternately fiercely driving and quite still, though tense. RobertFrost’s Nothing Gold Can Stay summons fleet scale passages framinglyrical counterpoint. The remaining movements do not refer to specificpoems, but have titles reflecting their expressive tone. Dreamscape ismusing with an improvisatory violin line over shifting pairs of pianochords. Nightsong is a bluesy lullaby that turns highly dramatic.Vision begins with a closely argued struggle but breaks through tosomething spacious and clear.

SKU: P2.10033

I have been very fortunate and professionally blessed to have five wonderful woodwind colleagues at Arizona State University: Elizabeth Buck, flute; Christopher Creviston, saxophone; Joshua Gardner, clarinet; Martin Schuring, oboe; and, Robert Spring, clarinet. Together, we presented numerous woodwind recitals featuring all six of us in various combinations of duos, trios, quartets, and quintets. However, until now, we were never able to share the stage simultaneously. To remedy this, I arranged five movements of Stravinsky's Suite No. 1 and Suite No. 2 for Small Orchestra for the instrumentation of the ASU woodwind faculty.
The source material is derived from Igor Stravinsky's Three Easy Pieces (1915) and Five Easy Pieces (1917). These compositions were written as four-hand piano educational pieces for Stravinsky's children. Stravinsky would play the more difficult accompaniments while his children played the simple melodies.
Stravinsky composed arrangements of several movements using these short eight pieces, but the best-known arrangements are Suite No. 1 (1921) and Suite No. 2 (1925) for Small Orchestra. The five dance movements in Suite for Woodwind Sextet are true Stravinsky in their wit, charm, and humor.

SKU: CF.BE24

ISBN 9781491156780. UPC: 680160915323. 9 x 12 inches. La.

Based on Wallace Stevens' poem The Planet on the Table this string quartet's world is made of the music and sounds of remembered times or of something heard that the composer, Martin Bresnick, liked. The quartet has five movements, each headed by a quotation from one of Stevens' poems as a point of departure or pathway into those remembered sounds and music. What matters is that my music, like his (Stevens') poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part..
Wallace Stevens' poem The Planet on the Table begins - Ariel was glad he had written his poems, They were of a remembered time Or of something seen that he liked. In this string quartet, also entitled The Planet on the Table, my planet is made of the music and sounds of a remembered time or of something heard that I liked. The quartet has five movements, each headed by a quotation from one of Stevens' poems* as a point of departure or pathway into those remembered sounds and music: I. Mrs. Anderson's Swedish Baby II. She Measured the Hour III. Scene 10 Becomes 11 IV. Someone Has Walked Across the Snow V. His Self and the Sun Like Stevens, my self and the sun are one, and my music, like his poetry, although makings of my self, is also makings of the sun. Stevens wrote it was not important that his poetry survive, which is also true of my work. What matters is that my music, like his poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part. *Sources for the titles: I. The Pleasures of Merely Circulating II. The Idea of Order at Key West III. Chaos in Motion and Not in Motion IV. Vacancy in the Park V. The Planet on the Table.
Wallace Stevens' poem The Planet on the Table begins -Ariel was glad he had written his poems,They were of a remembered timeOr of something seen that he liked.In this string quartet, also entitled The Planet on the Table, my planet is made of the music and sounds of a remembered time or of something heard that I liked.The quartet has five movements, each headed by a quotation from one of Stevens' poems* as a point of departure or pathway into those remembered sounds and music:I. Mrs. Anderson's Swedish BabyII. She Measured the HourIII. Scene 10 Becomes 11IV. Someone Has Walked Across the SnowV. His Self and the SunLike Stevens, my self and the sun are one, and my music, like his poetry, although makings of my self, is also makings of the sun. Stevens wrote it was not important that his poetry survive, which is also true of my work.What matters is that my music, like his poetry, should bear some lineament or character, some affluence, if only half perceived in the poverty of its sounds, of the planet of which it was part.*Sources for the titles:I. The Pleasures of Merely CirculatingII. The Idea of Order at Key WestIII. Chaos in Motion and Not in MotionIV. Vacancy in the ParkV. The Planet on the Table.