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Camille Saint-Saens: Variations On A Theme By Beethoven Op.35

A work for two pianos, four-hands. Saint-Saëns designed this work as a sort of excursion through the Nineteenth Century- each of the ten variations represents a distinct musical style from the years between Beethoven's Sonata (1802) and the Variations themselves (1874).Please note: two scores needed to perform.

Tchaikovsky: Violin Concerto Op.35 (Violin/Piano)

Revised and fingered by Philipp Mittell. This work was written following the composer's disastrous three-month unconsummated marriage to Antonina Ivanova Milioukov, thought to be a former pupil of Tchaikovsky. After this painful chapter in his life, he attempted suicide by standing in the Moscow River's freezing waters, hoping to contract pneumonia. The composition of this concerto became a sort of therapy for the emotionally wounded Tchaikovsky.

John Corigliano: Gazebo Dances for Orchestra (Full Score)

The title Gazebo Dances was suggested by the pavilions (often seen on village greens in towns throughout the countryside) where public band concerts are given on summer evenings.The delights of that sort of entertainment are portrayed in this set of dances, which begins with a Rossini-like Overture, is followed by a rather peg-legged Waltz, a long-lined Adagio, and finishes with a bouncy Tarantella.

Dale Trumbore: Lodestar

Dale Trumbore 's Lodestar was commissioned by Nova Vocal Ensemble (Jonathan Bautista, director). It is dedicated to Yayra Sanchez, Soprano. Opening with the phrase “How you wonder what you are,” this poem, described by the composer as a sort of “fable for adults,” is set for Mixed Voices with Soprano solo as a work of lyricism and reassurance, intense, colorful, dissonant and worthy of the best choirs. Listen to Lodestar on Soundcloud:

Robert Schumann: Fantasiestucke Op.12

Schumann's Eight Fantasiestücke, Op.12 (1837) together constitute one of the composer's finest and most representative works. Intended to be played as an intact group, the set retains enough typical dance forms to be regarded as a sort of dance suite, though the pieces are longer and more complex than those of "true" dance suites like Carnaval, Op.9 (1833 - 35) and Davidsbündlertanze, Op.6 (1837). Most of the pieces are constructed in novel permutations of rounded binary and ternary forms; nearly all have contrasting, trio-like middle sections.

John Corigliano: Gazebo Dances (Piano, Four Hands)

Gazebo Dances was originally written as a set of four-hand pieces dedicated to certain of my pianist friends. I later arranged the suite for orchestra and for concert band, and it is from the latter version that the title is drawn.The title Gazebo Dances was suggested by the pavilions often seen on village greens in town throughout the countryside, where public band concerts are givenon summer evenings.The delights of that sort of entertainment are portrayed in this set of dances, which begins with a Rossini-like Overture, followed by a rather peg-legged Waltz, a long-lined Adagio and, finally, a Tarantella.John Corigliano

Giuseppe Verdi: Don Carlo (Libretto)

Don Carlo which debuted in 1867, ranks among the composer's most complex and challenging works. Based on the verse play by Schiller about tragic love and intrigue at the court of Philip II of Spain, the opera features a rich assortment of memorable characters and dramatic situations. Conflicts of a political sort abound in the libretto by Mery and Du Locle; Don Carlo is in love with Elizabeth de Valois, who has become the wife of his father, King Philip II, as the result of a political marriage. Furthermore, the Marquis de Posa, Don Carlo?s best friend, is wanted by the Grand Inquisitor because he is a 'freethinker.' Philip discovers his wife's infidelity and must decide what to do about his son while the Grand Inquisitor asserts his power over him. This is the Schirmer Edition of the Libretto, in the original Italian with an English translation by Walter Ducloux.

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