/ Divers
SKU: SU.00220528
This CD Sheet Music™ collection surveys the wealth of American concert music from the 19th and 20th centuries. Includes over 150 works for solo piano, piano duo, and piano four-hands by forty familiar and lesser-known American composers. Includes works by: Beach (Four Sketches, Valse Caprice); Bowles (Folk Preludes); Carpenter (Krazy Kat); Chadwick (Caprice); Colderidge-Taylor (Forest Scenes); Cowell (Three Irish Legends); Crawford ; Farwell; Foote (Five Poems after Omar Kayyam); Foster (Quadrilles, Soirée Polka); Gottschalk (Bamboula, Souvenir de Porto Rico); Grainger (Country Garden, Shepherd's Hey); Griffes (Roman Sketches); Herbert; Ives (Some South-Paw Pitching); MacDowell (Woodland Sketches, New England Idyls); Ornstein; Paine; Persichetti (Poems Vols. 1-3); Piston (Passacaglia); Riegger (Petit Etude); Ruggles (Evocations); Sousa (Hail to the Spirit of Liberty, The Stars and Stripes Forever); and more. Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 2200+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: SU.60000050
Solo viola Composed: 2000 Published by: J.B. Elkus Music Contents: 1. Episode III: Arietta (John Heiss) 2. Le Vrai Tango Argentin (Pablo Ortiz) 3. Chorale (Ann Callaway) 4. Reminiscense (Robert Bloch) 5. Etude-Caprice (Robert Bloch) 6. Taking the Waters on Oling (Elinor Armer) 7. Petite Suite for Solo Viola (Maria Niederberger) 8. Impromptu for Viola (Joel Lindheimer).
SKU: CL.013-1075-00
SKU: MB.30859
ISBN 9781513465951. 8.75x11.75 inches.
Imagine a campfire! Envision sitting around the bright flames with your friends and family singing songs out in the great expanse. Imagine that those melodies you sing stir up joy, hope, and belief in the great wonders of the world. Melodies have connected different kinds of people for many, many years. Music brings us closer, and music makes any occasion more festive and memorable. This book was written to promote the love of old folk melodies, provide processional music for special celebrations, and to include players of all levels. Music educators will find that there are many possibilities and combinations for practice and performance. Includes a 16-page pull-out section of twelve selected pieces for an optional cello part.
It is my great hope that music students, families, and educators will all enjoy this very special collection of Beautiful Melodies from Around the World.Â
SKU: HL.233151
ISBN 9788759886427. 10.0x14.5 inches. English.
Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini's famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point ofdistraction - and the secret behind it being hauled through the wringer by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I'll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it'll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn't end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it the one-and-only, the real thing, if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others's equal. Poul Ruders.
