SKU: HL.50586611
Piano compositions by Saul Cosentino from the years 1963 to 2009. He became famous as composer and pianist of the Tango Nuevo era. However, his pieces illustrate many other musical aspects and very effective modern romantic piano music. De Argentijnse componist en pianist Saul Cosentino wordt beschouwd als een van de beste componisten en uitvoerders van de moderne tango. RetroSpective bevat 14 composities voor piano die hij schreef van 1963-2009.Klavierkompositionen aus den Jahren 1963 bis 2009 des argentinischen Tango-Komponisten und Pianisten Saul Cosentino, der als einer der besten Komponisten und Interpreten des modernen Tango gilt. Die wirkungsvollen, mittelschweren Stucke in diesem Buch zeigen jedoch noch viel mehr Facetten. Il volume raccoglie le composizioni pianistiche di Saul Cosentino che vanno dal 1963 al 2009. Cosentino ha acquisito fama come compositore e pianista dell'epoca Tango Nuevo. I suoi pezzi presentano anche altre caratteristiche musicali: musica pianistica moderno-romantica di grande efficacia, difficolta media.
Piano compositions by Saul Cosentino from the years 1963 to 2009. He became famous as composer and pianist of the Tango Nuevo era. However, his pieces illustrate many other musical aspects and very effective modern romantic piano music. De Argentijnse componist en pianist Saul Cosentino wordt beschouwd als een van de beste componisten en uitvoerders van de moderne tango. RetroSpective bevat 14 composities voor piano die hij schreef van 1963-2009.Klavier kompositionen aus den Jahren 1963 bis 2009 des argentinischen Tango-Komponisten und Pianisten Saul Cosentino, der als einer der besten Komponisten und Interpreten des modernen Tango gilt. Die wirkungsvollen, mittelschweren Stucke in diesem Buch zeigen jedoch noch viel mehr Facetten. Il volume raccoglie le composizioni pianistiche di Saul Cosentino che vanno dal 1963 al 2009. Cosentino ha acquisito fama come compositore e pianista dell'epoca Tango Nuevo. I suoi pezzi presentano anche altre caratteristiche musicali: musica pianistica moderno-romantica di grande efficacia, difficolta media.
SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: PR.114421310
UPC: 680160680993.
SKU: FG.55011-689-4
ISBN 9790550116894.
Sepp o Pohjola (b. 1965) composed his fifth string quartet, lasting about 20 minutes, in February-March 2018. He was inspired to write it by a visit to the Vincent van Gogh Museum in Amsterdam the previous year, where he was greatly impressed by the vast, comprehensive retrospective and especially the horrifyingly honest self-portraits. The soft opening tones bear an instruction alluding to Schonberg's Verklarte Nacht string sextet: the quiet music must be richly shaded. The notes in the canon-like part writing almost always change at different moments in each instrument, with a longer or shorter delay. The independent lines weave tightly together. The only dynamic is forte for minutes on end in the powerful closing section. Duration c. 20 minutes. Score (A4) and parts (B4).
SKU: PR.UE026108
UPC: 803452006718.
SKU: PR.114406980
UPC: 680160010806.
Shula mit Ran’s second string quartet, subtitled “Vistas,†occupies a large canvas that is cast in a traditional fourmovement mold, where the outer movements present, explore, and later return to the work’s principal musical materials, surrounding a slow movement and scherzo-type third movement with a trio. In addition to tempo-based titles, the individual movements have subtitles that are evocative of each movement’s character, as follows: I. Concentric: from the inside out II. Stasis III. Flashes IV. Vistas.My second string quartet, “Vistasâ€, is a work cast in a traditional four-movement formal mold, with the outer movements, presenting and later returning to the work’s principal musical materials, surrounding a slow movement and a scherzo-type third movement.While the four movements’ “proper†names -- Maestoso con forza, Lento, Scherzo impetuoso, and Introduzione; Maestoso e grande – give some indication of the general character of the individual movements, I have also subtitled, less formally, each movement as follows: 1) Concentric: from the inside out 2) Stasis 3) Flashes 4) Vista. The images evoked by these titles tell one, I think, a bit more about the inner workings of the quartet.In the first movement, a prominently presented opening pitch (E) reveals itself, as the movement unfolds, to be a center of gravity from which ever-growing cycles of activity gradually evolve. While various important themes come into being as the movement progresses, their impact on the listener has, I believe, a great deal to do with their juxtaposition and relationship to the initial central point of gravity.Stasis is, as the name implies, a movement where activity seems, at times, almost suspended. Being also, as Webster’s Dictionary reminds us, “a state of static balance and equilibrium among opposing tendencies or forces,†it develops various materials, including ones from the first movement, without bringing them to points of resolution.Flashes is short and very fast, evoking in my mind the quick shimmer of fireflies, a “sudden burst of lightâ€, but also a “brief timeâ€. Perhaps, even, a “smileâ€?Final ly, the last movement, Vista, is not only “a view or outlookâ€, but also “a comprehensive mental view of a series of remembered or anticipated events.â€Â After a brief recall of the opening of the second movement, this movement brings back all the important themes of the first movement in their original order. But just as going back can never really mean going back in time, the movement is much more than recapitulatory. By cutting through previously transitory passages and presenting the main ideas in a fashion more direct yet more evolved, it also sheds new light on earlier events, offering a retrospective, synoptic view of the first movement as it brings to culmination the work as a whole. “Vistasâ € was commissioned by C. Geraldine Freund for the Taneyev String Quartet of what was then Leningrad. It was the first commission given in this country to a Soviet chamber ensemble since the 1985 cultural exchange accord between the Soviet Union and the United States.
SKU: PR.144405550
UPC: 680160603565. 9 x 12 inches.
Martin's Piano Trio consists of three movements constructed in abstraction—somewh at beyond simply variations, to the point that the listener intrinsically understands the connections, which may not readily be apparent. The Piano Trio was featured in a 2012 concert by North/South Consonance, who will also be performing a retrospective of Martin's works in the current season.
SKU: PR.14440555S
UPC: 680160603589. 9 x 12 inches.
SKU: BR.EB-32049
ISBN 9790004186473. 9 x 12 inches.
Eduard Franck finished the fair copy of his second string sextet score in December 1884. The piece can thus be described as a typical late work, also evident from its wistful retrospective mood. The sextet's D-major first movement has a concise main theme moving to an expressive secondary theme whereas its final movement is a polyphonic masterpiece: This full, yet transparent movement integrates all the characteristics of the preceding movements in a rhythmically elastic, richly melodic broader context that in the end attains serenity and reconciliation.
SKU: HL.8754566
UPC: 884088644758. 6.75x10.5 inches.
In 1866, a women's memorial association in Mississippi tended the graves of Union and Confederate soldiers, treating the dead as equals despite the lingering rancor of war, inspiring this poem by Francis Miles Finch. This musical treatment has been created with simplicity and tenderness, ideal for a Civil War retrospective, Memorial Day or other occasions. Available separately SATB, SAB and TTB. Duration: ca. 3:50.
SKU: BP.HB755
Written for 3 to 6 octave handbell choir. Level 4.This exciting original tune from the pen of Jason Krug is not to be missed! Featuring alternating measures of 4/4 and 3/4, the joyful, memorable melody moves throughout the ensemble. Frequent interludes take the piece off in different directions before coming back to the melody once more. A slower, retrospective middle section gives a respite before the driving feeling returns once more to close the piece out in explosive, festive fashion!
SKU: CL.011-4742-00
A Fond Farewell is a warm retrospective work for developing bands, which musically expresses the mixed emotions felt by the departure of a retiring teacher, coach or graduates. It begins with two lush melancholy melodies, evoking feelings of sadness over leaving, that build to a dramatic climax with stirring lines. These opening themes shift to a joyous celebration of starting an exciting new chapter in life through a lively change in tempo and meter for an uplifting ending!
SKU: BR.BG-983
ISBN 9790004121351. 0 x 0 inches.
SKU: BA.BA11071
ISBN 9790006562015. 42 x 29.7 cm inches.
“Now II†is the second part of a triptych of chamber pieces entitled “Profiles of Lightâ€. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.
