SKU: A0.1033841

Special piano part for cellist! Arrangement performed at the Cello recital by the 1st soloist of Paris Opéra, Aurélien Sabouret, acclaimed by the Japanese prestigious music magazine Ongaku-no-tomo has been published.

Compatible with your own cello part! (Cello part of Yuki's revision is also attached*)

- Cello can sing using up to pianissimo. Piano part avoided same range.
- Reduced the scenes without soprano. New score realizes natural sound spread.
- Avoided the dialogue cello-piano between the ranges too far away
After the concert, the arrangement was so natural that no one mentioned it!

Also, kind material for pianist:
- Piano score’s cello part is written only with G&F clef.
- Rehearsal numbers and bar numbers are compatible with the 1st edition by Delsart, Bärenreiter edition and Henle edition.
- Page layout is same as 1st edition to facilitate comparison.

Arranger Yuki HASEGAWA, biography:
 Arranger, pianist, conductor and producer.
 She completed the department of piano at the Kunitachi College of Music, and the departments of chamber music, écriture musicale and orchestration at the Conservatoire Supérieur de Paris-CNR. She also studied écriture musicale at the CNSM-Lyon. She studied under Profs. Alain Louvier, Bernard de Crépy and other representative professors in France in terms of composition and arrangement.
 She later completed the conducting biennio department at the Milano Civica Scuola di Musica Claudio Abbado. In recent years she has been the frequent guest conductor and commissioned arranger to the Japan Croatia Music Society, etc.
 As a chamber musician, she has worked on numerous experimental harmony works of the early 20th century, and made CD recordings including the Violin Sonata by Louis Vierne, César Franck's pupil.
 She is a member of the Irish Music Rights Organisation and the Mechanical-Copyright Protection Society in U.K. Her works can be licensed by representative organisations in each country.
 Representative of the Edition les bons concerts and cooperating artist of the Pro Arte Musicae Co., Ltd. Japan.
(As of 20, December 2021)
Latest information & inquiries: https://yukihasegawa.com 

*The cello part is the same as the one distributed free of charge on the official website http://yukihasegawa.com/01 .
Piano part (score) has 37 pages. Preface and comments for the score are 2 pages (English / French).

SKU: A0.1397796

The Second edition features more textural variety and interplay between the strings and piano.
Mussorgsky is known for his ability to evoke vivid pictures through his music. He creates soundscapes that transport listeners to other places and times. Using complex harmonies and shifting tonalities, Mussorgsky creates sonic paintings that are as diverse and varied as any works of art in a museum. He takes listeners on a journey through different landscapes and environments, ranging from pastoral settings to the underworld depths. In his famous suite, Pictures at an Exhibition, Mussorgsky gives each movement a title referencing a painting, sculpture, or architectural feature from an art museum. The suite is composed to capture the moods and emotions the artworks evoke. From the bright and energetic Promenade to the somber and mysterious Catacombs, Mussorgsky's Pictures at an Exhibition paints a vivid sonic landscape that brings the listener into the art museum.

The composition was inspired by a visit to an art exhibition featuring the works of Mussorgsky's friend, the Russian artist Viktor Hartmann. The Pictures at an Exhibition pieces aim to capture the sketches, watercolors, and architectural designs displayed at the exhibition. Mussorgsky links the suite's movements to depict the viewer's progress through the exhibition. Two Promenade movements serve as portals to the various pictures, representing the composer himself strolling through the exhibition. Mussorgsky and Hartmann were devoted to the cause of an intrinsically Russian art, and their friendship likely developed in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. Mussorgsky's original composition is known for its multi-layered music imbued with energy and vitality, requiring the performer to move between soothing melodies, humorous tunes, and pounding rhythms. The suite's diverse range of musical styles and moods is a testament to Mussorgsky's skill as a composer.

Pictures at an Exhibition (Картинки � вы�тавки) by Modest Petrovi� Musorgskij, 1874
(Моде�т Петрович Му�орг�кий) Arranged for Piano Quartet by James M. Guthrie (Джейм� М. Гатри)
Score: 103 pages, 924 measures, duration: 34:30. 
Contents:
 Promenade 1 Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto 
1. GNOMUS (The Gnome) Sempre vivo 
 Promenade 2 Moderato commodo assai e con delicatezza 
 2. IL VECCHIO CASTELLO (The Old Castle) Andante molto cantabile e con dolore 
 Promenade 3 Moderato non tanto, pesamente 
 3. TUILLERIES Dispute d'enfants après jeux (Children's Quarrel after Games)
      Allegretto non troppo, capriccioso
 4. BYDLO (Cattle) Sempre moderato pesante
 Promenade 4 Tranquillo
 5. Ballet of the Unhatched Chicks Балет невылупивших�� птенцов   Scherzino
 6. Samuel Goldenberg und Schmuÿle  Еврей в меховой шапке. Cандомир Andante
 Promenade 5 Allegro giusto, nel modo russico, poco sostenuto
 7. LIMOGES. LE MARCHÉ. (La grande nouvelle) The Market (The Great News)
      Allegretto vivo, sempre scherzando
 8. CATACOMBAE (Sepulchrum romanum) (Roman Tomb) Париж�кие катакомбы Largo 
      CON MORTUIS IN LINGUA MORTUA (With the Dead in a Dead Language)
      Andante non troppo, con lamento
 9. The Hut on Hen's Legs (Baba Yaga) Избушка Бабы-Яги на курьих ожках. Ча�ы в ру��ком �тиле
      Allegro con brio, feroce 
 10. The Bogatyr Gates (In the Capital in Kiev) Проект город�ких ворот в Киеве. Главный фа�ад
The Great Gates of Kiev Allegro alla breve Maestoso con grandezza.

SKU: A0.1033214

When my friend, the composer and pianist Neil Crossland, asked me to write a work for him to perform, he requested that I give the piece a distinctly Scottish flavour. Perhaps as a consequence, hailing from Scotland as I do, the resulting work is distinctly autobiographical in nature. This is a challenging piece, aimed at advanced players.

The four movements reflect the preoccupations of four stages of (my) life as seen in hindsight. The word dimensions in the piece's title refers to facets of my own character.

The first movement, Complications, represents the self-image of the young. The music is adventurous and academic, full of the potential of a life yet to be lived and the earnest self obsession of youth.

The second movement, Romance, is the search for love, though seen through the lens of memory and therefore touched with sadness.

The third, Transience, shows the uncertainties of middle age, so full of frustration and of nostalgia. This movement contains my setting of the Jacobian poem Will Ye No Come Back Again?.

The last movement, Revelry, blows away the uncertainties of the third movement with the driving energy of a Scottish reel. Perhaps increasing age brings a certain perspective; what does it matter if you have more past than future? Just get up and dance and let Dr. Music sweep your cares away.

The piece features a musical fragment (first heard in bar 26 of the first movement) which has been the cause of much amusement between Neil Crossland and myself over the years. Neil has been composing music since his teens but the art has only much more recently become a big part of my life. However, musical ideas have always had a tendency to come into my head and, several years ago, I decided to play these two bars to Neil. Every so often, in the years that followed, he would teasingly ask me how my new piece was coming on, knowing full well that I'd have to admit that my magnum opus was still only two bars long! By setting the melodic fragment at the heart of this composition I have finally ensured that he can tease me about it no longer. More importantly, I hope that Neil enjoys our little in-joke.

The audio file for this work is beautifully performed by the work's dedicatee, Neil Crossland.

SKU: A0.1489523

Dimension Traveler, Op. 150, for brass quintet was completed 26 Mar 2024.  When I wrote the first few distinctive notes into the computer, my ten-year-old son said that it sounded “futuristic.”  Somehow that sparked memories of a novel I had started years ago, titled “Dimension Traveler,” based on dimensional theories I had developed.  With that fresh inspiration in mind, the piece wrote itself with opening movie credits in mind.

The form is thematically palindromic, the center point being m. 77.  The beginning to rehearsal letter A mirrors K to the end; A to B is parallel to J-K; B-C = I-J; C-D = H-I; D-E = G-H; and the central thematic sections E-F = F-G.  Concerning that central turning point, the thematic material shifts from the trumpets’ first statement at letter E to low brass with the trumpets taking on the pointillistic accompaniment at letter F.  Of interest is the parallel of C-D and H-I wherein the motivic material, including dynamics, is quite literally reversed note for note to a climax.

For aural aesthetics in performance, there is an optional cut from letter K to m. 142.  Thematically, the structure remains chiastic, but taking the cut simply truncates the end for a motivic flavor rather than repeating the entire opening entrée.  There is nothing wrong with purists performing the work in its entirety—it is simply a matter of taste among the performing ensemble members.

Stylistically, this piece strays far from my typical compositions.  Besides the pervasive echoing eighth-note motifs, the key never changes, and there is no chromaticism.  Inspired in that regard by the masterpiece “Quintet” by Michael Kamen, the diatonicism often flows in planed clusters mildly influenced by the choral works of Eric Whitacre.  Another deviation from my well-established compositional habits is the instrumentation including bass trombone instead of tuba.  Of course the part can be played by a tubist, though the bass trombone meshes more seamlessly with the timbres of the other instruments in passing along the pervasively echoing eighth-notes.

The individual brass parts appear deceptively simple, and indeed, they are not technically demanding besides a couple high notes in the trumpets.  However, putting this piece together in an ensemble setting is rhythmically treacherous!

The four-minute final product indeed sounds like it could be the opening to an epic movie of the same title, based on the novel-in-progress.

SKU: A0.1375566

This is a leadsheet (melody/chords/lyrics) from a solo guitar arrangement of When Will My Life Begin (from Tangled) created by Brad Powell for his performances in Disney's Princess Breakfast Adventure at the Disneyland Resort's Grand Californian hotel (Napa Rose restaurant), from 2019 to early 2024. Brad played this for Rapunzel, her friends, and guests. It's an intermediate level leadsheet mixing pop, jazz and classical techniques and chord voicings. You can see & hear the full arrangement performed in the YouTube link provided. (the full arrangement with TAB is on the way!)

ABOUT: Brad Powell (aka The Candlelight Guitarist) began guitar at age ten, inspired by The Beatles. At 15, he became a protégé of jazz guitarist Joe Pass, and later studied classical guitar under Vincent Macaluso, and at California State University, Northridge under Ronald Purcell, with a master class under Andrés Segovia. Brad was featured performing Gerald Wilson's Sonata for Guitar and Orchestra at the Hollywood Bowl, with the composer conducting. Brad was mentored in composition by David Rose (composer for Little House on the Prairie). Brad has composed music for TV, including Hill Street Blues and The 'A' Team, working with Mike Post. Brad has ten albums as The Candlelight Guitarist. When not making music, Brad is often out hiking with his four dogs. Brad also played as the solo guitarist for Disney's Princess Breakfast Adventure at Disney's Grand Californian Resort by Disneyland (March 2019-January 2024), providing music for the Disney Princesses (Belle, Tiana, Jasmine, Rapunzel, Mulan, Aurora, Ariel, Pocahontas, Cinderella, and their friends and guests).

COMMENTS FROM LONG-ESTABLISHED REVIEWERS (for this and other Candlelight Guitarist recordings)...
Bill Binkelman - Music Reviewer for Zone Music Reporter and New Age Retailer
The Candleight Guitarist is your tour guide to a land of easy-going, warm, and inviting instrumentals.

Rebecca of Amazon - Amazon.com HALL OF FAME TOP 500 REVIEWER
Bradley Powell's flawless playing allows you to completely relax into sleep or relax into an evening of candlelight and romance. I've fallen into a peaceful sleep while listening to this music and have also spent relaxing afternoons reading while The Candlelight Guitarist wove an intricate tapestry of sounds to nurture my heart. ...  Bradley Powell's music is infused with natural ambience. As rich sounds renew your spirit, you can relax into a deep sigh of the heart. His style is artistic, heart healing and filled with romantic and cultural influences.

Vicki Blizzard (Editor, PaperWorks and Crazy for Cross-Stitch! magazines) in CREATIVITY e-Letter: Music to filter into my dreams. My new favorite to listen to is classical guitar music by Bradley Powell.

Bob McKillop, founder and publisher, MaineFolkMusic.com
...perfect for situations in which candlelight figures prominently. Quiet meditation, romance, intellectual stimulation – the soft, pure tones of his Spanish and classic instrumental style open up your heart and render it more receptive to the spiritual messages that these pursuits engender..