SKU: CY.CC2775
The Concerto Grosso for Three Trombones with Piano accompaniment by Lindol Mitchell is a realization for Piano of the original orchestral score by Jeremy Niles Kempton. The original orchestral work was composed in 1961 as part of Mitchell's Doctoral dissertation at the Eastman School of Music and was first performed in 1963 at a memorial concert for the composer after his untimely death. The solo performers were nine students of Emory Remington, including Ralph Sauer and Donald King.The work is is subtitled in stile Barocco and is in three movements. Movement I begins with an somber introductory Adagio followed by an Allegro in the style of a Bach Fugue led by the three soloists. Movement II is a slow and serious Larghetto in C minor.Movement III is a Presto in D minor in a Toccata style and is full of many mixed meter bars that add little little rhythmic surprises along the way.The 13-minute work is appropriate for advanced performers.The hand copied score and parts Concerto Grosso were rediscovered in the Sibley Library at the Eastman School of Music by Jeremy Kempton who then engraved and proofed them. He performed the work in 2011 with colleagues for the first time since its premier in 1963.
SKU: CY.CC2767
The Concerto Grosso for Three Trombones and Orchestra by Lyndol Mitchell was composed in 1961 as part of his Doctoral dissertation at the Eastman School of Music and was first performed in 1963 at a memorial concert for the composer after his untimely death. The performers were six students of Emory Remington, including Ralph Sauer and Don King.The work is is subtitled in stile Barocco and is in three movements. Movement I begins with an somber introductory Adagio followed by an Allegro in the style of a Bach Fugue led by the three soloists. Movement II is a slow and serious Larghetto in C minor.Movement III is a Presto in D minor in a Toccata style and is full of many mixed meter bars that add little little rhythmic surprises along the way.The 13-minute work is appropriate for advanced performers.The hand copied score and parts Concerto Grosso were rediscovered in the Sibley Library at the Eastman School of Music by Jeremy Kempton who then engraved and proofed them. He performed the work in 2011 with colleagues for the first time since its premier in 1963.
SKU: AY.FRD58
ISBN 9790302115434.
Prio r to 2018, the Trio Sonata of John La Montaine might as well have not existed. When ALRY Publications became the sole representative for Fredonia Press, this work was not mentioned in the catalogs, nor was any score or manuscript included in the Fredonia archives. Suddenly it resurfaced, a paper copy, bearing a handwritten inscription to Doriot Anthony Dwyer, with the subtitle for 3 Flutes or 30 Flutes or 300 Flutes. The new and freshly re-engraved edition, featuring a full score and parts, consists of three movements: Questioning (a trio version of the opening movement of his Sonata for Solo Flute), Song and Scherzo.
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: SU.46200090
Clarinet, Violin & Piano Duration: 22' Composed: 1988 Published by: Verdehr Trio Tripartita is a title invented for this score, a piece in three movements for three players. The first movement Elaborations is a sonata-like structure whose ideas evolve out of the harmonic succession heard as the background material of the opening passage. The second and third movements are based on essentially the same scalar and harmonic materials as the first; however, they are somewhat different in their moods and expression, in part because they both incorporate elements derived from popular music idioms of the early part of the twentieth century. The form of the second movement, Dances,is related to the nineteenth century scherzo with two trios; here, the scherzo sections are fast and jazzy,while the more relaxed digressions are, respectively, a ragtime-waltz and a tango. The third movement Blues with Variations follows without pause, and furthermore is linked structurally to the previous movements, since the chord sequence for the blues (and subsequent variations) is the same one employed from the very opening of the work. —William Averitt.
