Instrumental Duet Cello,Instrumental Duet,Violin - Level 4 - Digital Download

SKU: A0.889443

Composed by Luis Anjos Teixeira. Christmas,Concert,Contemporary,Standards. Score and parts. 44 pages. Luis Anjos Teixeira #4767545. Published by Luis Anjos Teixeira (A0.889443).

The Celtiberian Suite for Violin and Cello has multiple dancelike movements.

Some interpretation symbols where used in the score, they are mere personal suggestions for a performance. Most of the score is left to the interpretation of the artists involved, particularly the use of fingering. 

The bowing is very often simply used as a reference to a musical legato. The staccato is meant to shorten the length of the notes to half of its duration and is often used to simplify the righting and the reading of the score.

The piece is not very difficult but it demands endurance, focused concentration, listening very consciously each other and a very clean mind while keeping tempo and learning to differentiate the musical phrases.

The high pitched notes of some passages on the cello can be transposed an octave lower.

It can be performed slower or a little bit faster. 

It is a very flexible piece that can be used in all kinds of events.

The score was written on Finale.

The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score.

Thank you very much for taking your time to read this text and to listen to the file.

I hope you have a lot of fun and enjoy the music.

Sheers!

Luis Anjos Teixeira

Thanks to Claudia Eppelt for the all the Love and cover design.

Special Thanks to Stray Dog Nina, Stray Queen Mimi, Carlinhos, Maria Pontinha, Maria Joaninha, Schwarzenegger, Maria Koboldinha. 

For all Living beings on Earth, for all our Ancestors, 

Thank You for all of You 

For All Your Love and Compassion.

Love Forever.

Luis Anjos Teixeira

Solo Guitar - Level 4 - Digital Download

SKU: A0.953823

Composed by Haydn Reeder. 20th Century,Concert,Contemporary,Standards. Individual part. 4 pages. Haydn Reeder #3005425. Published by Haydn Reeder (A0.953823).

This work was originally written for solo guitar. The composer and performers have found that this arrangement for two guitars is more practical and therefore more effective.

The ideas in the work sprang from my desire to exploit the 'natural' attributes of the guitar. The initial idea of calmly ascending and descending thirds and sixths is fairly soon consigned to accompanying a second idea which is a full-throated melody.

From about a third of the way into the piece, both of these ideas are intermittently interrupted by what sound like explosions. In reality they are implosions as they often return the music to the calm initial idea. However, these implosions affect the other ideas. For instance, the impassioned low-pitched melody (second idea) is now animated by tremoli and ornamented. As for the initial idea, by the end of the piece its identity has changed significantly.

Piano,Violin - Level 1 - Digital Download

SKU: A0.1264997

Composed by Bastien Chevalley. 19th Century,20th Century,Chamber,Classical,Romantic Period. 2 pages. Bastien Chevalley #857838. Published by Bastien Chevalley (A0.1264997).

I'm delighted to present my latest composition, the fruit of my growing passion for the violin! 

Just three weeks ago, I began this incredible musical adventure, discovering the subtleties of this fascinating instrument. Oh, how I love it already, despite the challenges it presents! 

Despite my short experience, I already had an irrepressible urge to create music. And so was born this original composition, based on just three modest notes on the violin. However, thanks to a more elaborate piano accompaniment, the piece comes to life and acquires a more captivating musical interest.

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Je suis ravi de vous présenter ma toute nouvelle composition, fruit de ma passion grandissante pour le violon !

Il y a tout juste trois semaines, j'ai entamé cette incroyable aventure musicale en découvrant les subtilités de cet instrument fascinant. Oh, que je l'adore déjà, malgré les défis qu'il m'impose !

Malgré ma courte expérience, j'ai déjà une envie irrépressible de créer de la musique. C'est ainsi qu'est née cette composition originale, basée sur seulement trois modestes notes au violon. Cependant, grâce à un accompagnement plus élaboré au piano, la pièce prend vie et acquiert un intérêt musical plus captivant.

Piano Quintet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download

SKU: A0.1499301

Composed by James Albert Yeager. 21st Century,Chamber,Contemporary. 99 pages. James A. Yeager #1075356. Published by James A. Yeager (A0.1499301).

Foreword:
Each movement revisits classic paradigms—sonata form (I), ternary song form (II), and sonata rondo (III). The three movements of this piano quintet share a common element contained in the seed of a motivic idea—the interplay between the minor and the major 3rd : a tonal ambiguity or conflict of the minor 2nd. Stylistically, this Sonata pays modest homage to neo-classicism of 20th Century composers such as Poulenc (I), Prokofiev, Shostakovich (III), and perhaps even a touch of Gershwin (II). I hope this piano quintet will offer players and their audience chamber music that is a bit unusual yet worthwhile. The Sonata embraces the lightheartedness, the melancholy , and the whimsy of nostalgia. There is no separate piano part.

Performance Notes:
I Moderately fast,  expresses dialogues of themes that move between piano and strings. The playfulness of the exposition (repeat is not optional) can give way to a more passionate building of the development to the climax at letter H. In the recapitulation the longer bridge remains steadily in tempo (no accelerando) relaxing just before letter N and theme two. The coda after letter O is a somber premonition of movement two.

II Slowly, the bowings are ad libitum. The viola is chantlike and smooth. Violins glissando like the portamento of the Chinese stringed instruments, the Guqin or the Ehru type glissando leading to a very pure quiet long tones without any vibrato and the resulting fourth should be a pure tuning. The piano can use una corda ad libitum in softer passages, and the pedal (damper) ad libitum. In the B section (Letter D) pianist should treat the 64th notes like an ornament (upper mordent). Strings play the eighths after Letter G accents with strong bow changes. At the end, the piano lingers until the sound vanishes after the strings die away.

III Introduction: Quick and spirited, the transition (Introduction) is measured and strict without alteration leading to letter A. The rondo theme, ‘A’ section, can slightly intensify in each successive repetition, but not slavishly. The small waltz or ‘B’ section, Letter C, the quartet might play to resemble a reed organ or harmonium—sweet, sonorous, and harmonious. The ‘C’ section, Letter G, big swell on short bridge passage, then pizz. strings become very rustic and like a peasant dance. Pianist can use una corda ad libitum in soft passages. Violins again after Letter I play similarly to non-vibrato of 2nd movement. The ‘B’ section at Letter L is now the grand waltz slightly faster and more indulgent with tiny rubatos tastefully allowed.

James Albert Yeager (b.1946)
James began his career as organist and choral conductor then harpsichordist and finally, professor of sacred music. As an organ major at The Ohio State University, he studied with Dr. Wilbur Held (B.Mus. 1969). Professor Joseph Goodman mentored him in composition at Union Theological Seminary in New York city (M. Sac. Mus, 1971). At the University of Colorado-Boulder, he returned to the organ, nevertheless, keeping composition as a mainstay (D.M.A. 1985).  He was appointed Director of Sacred Music at the Pontifical College Josephinum (Columbus, Ohio) and rose to the rank of Professor (1984-2009). He retired as professor emeritus in 2009 and moved to New Mexico. While residing in Mountainair, New Mexico, he was organist/choral director for 12 years at a major Albuquerque church retiring again in 2021. His most recent compositions include Passacaglia & Fugue for Organ and Chamber Orchestra (2022), a Fugue for Piano and Orchestra (2022), a Sonatina for Flute and Piano (2023), and the Sonata for Piano Quintet (2024) as well as several smaller works for voice and piano.

String quartet - difficult - Digital Download

SKU: S9.Q6235

Composed by Peteris Vasks. This edition: score and parts. Downloadable, Score and parts. Duration 25 minutes. Schott Music - Digital #Q6235. Published by Schott Music - Digital (S9.Q6235).

String Quartet No. 5 consists of two contrasting movements. The first movement, being present, immediately leads to an atmosphere of high emotional tension. The prevailing atmospheric elements of the music are dramatic and passionate, alternating with each other like a kaleidoscope. In contrast to that, a second theme is intoned three times – an invitation, a memory of the existence of another world, a light-house which illuminates the twilight in which we live so often. But this invitation remains unheard. The first movement concludes with dissonances in the upper register – a cry of utter desperation. The second movement, so distant ... yet so near, is the calm, unhurried vocal section of the quartet. A forgiving, loving look at a world tortured by grief and contradictions. Gradually, the singing becomes more personal, more emotional and more dramatic. The rhythmic figure of a funeral march in the recapitulation of the second movement is a gesture of loss. Eventually, the quartet loses itself in an atmosphere of light-filled grief. Pēteris Vask.

Choral Choir (SATB divisi) - Level 3 - Digital Download

SKU: A0.953628

Composed by Adrienne Inglis (ASCAP). Contemporary. Octavo. 14 pages. Adrienne Inglis (ASCAP) #6405671. Published by Adrienne Inglis (ASCAP) (A0.953628).

Great for concerts about nature and the environment, pandemic life, creativity!

Shelter in Place by Adrienne Inglis (ASCAP) for mixed SSAATB chorus with nature soundtrack created by Chris Clark-Johnson

a setting of Shelter in Place, a poem by Kim Stafford

Commissioned by Lewis & Clark College, Portland, Oregon, April 2021

Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas.

Poet Kim Stafford grew up in Oregon, Iowa, Indiana, California, and Alaska, following his parents as they taught and traveled through the West. He is the author of a dozen books of poetry and prose, and the founding director of the Northwest Writing Institute at Lewis & Clark College, where he has taught since 1979. He holds a PhD in Medieval Literature from the University of Oregon, and has worked as a printer, photographer, oral historian, editor, and visiting writer at a host of colleges and schools, and offered writing workshops in Italy, Scotland, and Bhutan.

Shelter in Place by Kim Stafford (used with permission)

Long before pandemic prisoned us,

the trees knew how to guard their place

with roots and shade.

Moss found how to hug a stone for life.

Every stream knows how to move in place,

stay home and yet flow outward,

sending bounty far.

Now is our time to practice-

now to sing from balconies,

now send words of comfort

by any courier,

now to hoard lonesome generosity-

and then to shine in all directions like stars.

Program note: Shelter in Place (2021) by Adrienne Inglis, commissioned by Lewis & Clark College, Portland, Oregon, April 2021, sets former Oregon poet laureate Kim Stafford’s poem Shelter in Place (2020) for SSAATB mixed choir with Oregon nature soundtrack created by Chris Clark-Johnson, Lewis & C lark College class of 2021. Written during the coronavirus pandemic, the poem expresses how quarantine can serve as a conduit for healing, how words of comfort flow despite barriers, and how the paralysis of sheltering in place generates creative movement. The music and poem draw inspiration from ancient forest wisdom, shown musically with a pentatonic scale. The tight harmonies of Locrian mode bind moss to stone and stream to its own flow. Then vocal expression bursts forth with lush harmonies as singers serenade from balconies, sharing compassion through music. Returning to the pentatonic scale, we overcome obstacles and send generosity beyond our ancient and modern world into the celestial realm. 

The nature soundtrack features sounds of the Oregon forest, stream, and night sky.

Acknowledgements: The composer warmly thanks Katherine FitzGibbon, Bailey Dean, Chris Clark-Johnson, Kim Stafford, and the Lewis & Clark College Community Chorale. 

Contact the composer to obtain the audio file of the nature soundtrack.

Copyright © 2021 Adrienne Inglis | adrienne.inglis.com