SKU: A0.733625

Squall at Kilkee Bay is a lively, advanced intermediate piano solo, with a Celtic flavor. This arrangement has several keychanges, and helpful fingering. It's a great show-piece for recitals or just for fun. The title refers to an historic event, the shipwreck of the Edmond, in 1850 in Kilkee Bay, Ireland. The Edmond was battered by a fierce storm and pushed into the Bay, crashing against the rocks. A man by the name of Richard Russel was occupying a house on the bay. He was trying to secure his rattling bedroom window, when he spotted the distressed ship. He call the coastguard and then went down to the ship to try to help people to safety. He and 3 coastguards, James McCarthy, Timothy Hannigan, and Patrick Shannon rescued 100 passengers, men, women and children. Many others were not as fortunate. The 3 coastguards received silver medals for their heroic efforts. It's quite a story! Here is the link if you'd like to read it: http://www.clarelibrary.ie/.../wreck_of_edmond_kilkee.htm  Written by Amy J. Snyder, copyright 2015  (original title White Water Rafting. Other compositions from Amy include The Charleston Rag, Shadow Valley, The South Carolina Blues, The Union Pacific Railroad Rag, The Sun Still Sets on the Mississippi River, Le Renard Dans La Neige (The Fox in the Snow), and more. Visit Amy at  www.facebook.com/amyjsnyder7.

SKU: A0.1021046

Amy is a short (1:37) early intermediate piano solo whose composition was stimulated by Alcott's book Little Women. The heading Dramatically is a general comment on the character's nature. The piece portrays the flaw (vanity) in Amy's character; so there is an emphasis on the grandiose and a constant drive to the tonic (representing self). It is the last in a set of 4. The other 3 being Meg, Jo, and Beth.

SKU: LV.17608

Ingle Side Gallopade. Composed by A. Metz. Published 1847 by Geo. Willig Jr. in Baltimore. Composition of galop; with trio with piano instrumentation. Subject headings for this piece include Carriages & coaches, Women's education, Educational buildings, Trees, Porches.

About The Lester S. Levy Collection

The Lester S. Levy Collection of Sheet Music consists of over 29,000 pieces of American popular music. Donated to Johns Hopkins University Sheridan Libraries, the collection's strength is its thorough documentation of nineteenth-century American through popular music. This sheet music has been provided by Project Gado, a San Francisco Bay Area startup whose mission is to digitize and share the world's visual history.

WARNING: These titles are provided as historical documents. Language and concepts within reflect the opinions and values of the time and may be offensive to some.

SKU: A0.971664

Cuban Gold for solo piano. 5 min. 15 sec. There is also an optional painting that may be projected in performance if desired. Please contact the composer directly for a jpg.  The poem may also be used in performance or reprinted in a program, in place of traditional program notes.  The pages of this score are arranged to be printed double-sided, with correct page turns.

Program Note/Poem

Cuban Gold

White mist rising from a broad field of green,

Sun breaking the horizon

then rose smoke curling into the sky.

Steel ringing in rhythm to voices, the sound of

metal slicing through wood

in all its sweetness.

A hot brilliant mid-day sun on the street.

Ducking into the doorway, then tuning the piano.  

It must be a special day.

The clock and church bell sounding in unison,

the end of Tuesday’s labor.

Humidity saturates El Tropicano,

with the upright piano and a half-glass of amber.

The piano montuno and bass tumbao,

along with a half-complete catch of drums

telegraph out the rhythms for the Casino dancing.

Tall ivory women and shorter browner men in white hats,

moving across the floor. ‘Still time for one more dance.

Old Havana at Midnight: Cuban Gold.

Cuban Gold poem copyright 2019, Jeffrey Hoover All Rights Reserved

Jeffrey Hoover's compositions- music ranging from soloist to symphony orchestra -have received recognition through the Universal Edition/SMP Press Contemporary Composition Award, the prestigious Trieste prize, the international Luigi Russolo competition, awards from Mu Phi Epsilon, the Lancaster Fine Arts Festival, grants, publications fellowships and more than 20 commissions. He is a member of the ACME roster of Mu Phi Epsilon, recognized for distinguished achievement as a composer. One unique aspect of Hoover’s work is when he combines composition with his paintings, creating synergetic art that intrigues and captivate audiences and performers alike. His paintings are seen in exhibitions and in concerts where his paintings are projected while musicians perform his music. Hoover’s background as a performer includes both classical and jazz music, as saxophonist and conductor. His book The Arts and Society: Making New Worlds is published by Kendall Hunt Publishing.

Hoover was born on September 11, 1959, in Anderson, Indiana. He holds a Ph.D. in Fine Arts (Composition and Interdisciplinary Fine Arts) from Texas Tech University, as well as an M.M. and Bch.Sc. from Ball State University. His career in higher education has included both faculty and arts administration appointments.

To learn more about Jeffrey Hoover's work, or for specific inquiries about his music, guest residencies/festivals, and commissions, please visit his website: https://jeffreyhooverart.wixsite.com/mysite

Contacting Musicart Publications

Carlos Rio, Editor

musicart.publications.editor@gmail.com

SKU: A0.913956

This piece was my reaction to the story of a little girl named Marquishia whose life was too short and tragic. I think she deserved more than her fate, and wrote this lullaby to sooth my own grief after following the developing story in the news, as it happened.

... Lloyd and Toombs told Culver City police Sept. 22, 1992, that Marquishia had disappeared during a shopping trip at the Fox Hills Mall. In the days that followed, Toombs appeared on television to ask help in finding the missing girl.

When police summoned Lloyd and Toombs to the Culver City station for further questioning Sept. 28, the women admitted that the first story was a fabrication. They said that Marquishia had drowned accidentally in a bathtub at Toombs' home in Ontario.

The women told police they panicked after the girl died and Lloyd dumped Marquishia's body beside a lonely stretch of road in the Lucerne Valley....

SKU: A0.533330

Il fuoco rubato is one of the 3 pieces for piano solo Anamorphoses whose titles are
Bartoquade I, Bartoquade II b and Il fuoco rubato. These pieces can be linked together as a
whole, in that order. The duration is of 5 minutes. They can also be played separately, or
grouped by two (Bartoquades I et II b, duration 3’). The same approach governs the writing of
these compositions : taking model on works of the repertoire and transforming them as much
as possible while keeping a lot of important parameters.
There are many cautionary accidentals. They are not enclosed in brackets to avoid
overloading writing. They are not systematically mentionned. In case of doubt, one will
consider the logic of the composition. When useful, one can distribute differently notes
between the 2 hands on the condition of respecting the balance between voices. The sign *[
on measure 80 means chromatic cluster (F-F#-G).  Marie-Agnès NATAF was born on March 2, 1952 at Issy-les-Moulineaux, in the suburbs of Paris,

Before deciding to devote herself completely to music, she began by studying both mathematics and musics at the same time. She had a varied base in her musical training, which allowed her to understand the teaching of her main teacher Narcis BONET. She studied the piano, chamber music, musical analysis, harmony and also to a lesser degree the flute, counterpoint and conducting.

As a pianist, she received a First Prize in Piano and in Chamber Music at the Orsay Conservatory, the Gold Medla at the National Music School of Cahcan and the Artist Diploma at the Ecole Normale de Musique de Paris – in the class of Germaine MOUNIER. For composition, she studied with Narcis BONET (who later invited her to the Conservatoire Américain of Fontainebleau as accompanist and teacher of French Diction), Yoshihisa TA�RA, and Edith CANAT de CHIZY. Having taught for a time at the Ecole Normale de Musique de Paris, she is currently professor of piano at the Conservatoire Erik Satie of Villebon-sur-Yvette,

Marie-Agnès Nataf has a double career of performer and composer. In both areas, she is especially attracted to chamber music, for the rich musical and human exchanges that this type of music permits. She has written her works Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, Révolte sans paroles and Elan brisé for her colleagues the mezzo-soprano Nicole PARAMYTHIOTTI and the flutiste Isabelle MARCHAL with whom he has given concerts for many years.

As a performer, she has premiered works by composers such as Gian-Paolo CHITI, Gloria COATES, Jean-Marie MACHADO, Yoshifumi UMEZAWA, Miao Wen WANG, without speaking of her own compositions. She also tries to discover high quality works of music which are rarely performed, especially works by women composers such as Thérèse BRENET, Dianne GOOLKASIAN-RAHBEE, Ruth LOMON.

Her principal works are Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, for mezzo-soprano and piano, 8'30, 1981-83-86. Bartoquade I - Anamorphoses I, 1', et Bartoquade II b - Anamorphoses II, 2', for piano, 1990 revised in 2012. Il fuoco rubato - Anamorphoses III for piano, 2', 1991 revised in 2012. Révolte sans paroles for mezzo-soprano, flute and piano, 16'30, 2000. and Elan brisé and flute and piano, 6'30, 2005.

In 2001, on the ocassion of the premier of Révolte sans paroles at the Centre Culturel Jacques Brel of of Villebon-sur-Yvette, she was invited to give a conference on her works at the Conservatoire Erik Satie. In April 2002, her songs were selected by the ensemble North /South Consonance directed by Max LIFCHITZ in a competition. In 2012, the Bartoquades were chosen to be on the list of works proposed by the FFEM for their examination list for intermediate pianists.

On the su.