Arsis Press scores may be ordered from individual composers.
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Floret-A Mood Caprice for Piano
3'42" $ 6.00 #040063 AP-101
Marked Allegretto, this one-movement piece contains a
repeated, one-measure LH pattern at the beginning that recurs near
the end with a different
melodic part in the RH along with some demanding octave passages
in the central sections.
Two Profiles for Piano
3'30" $ 6.00 #040064 AP-102
Compositions of elegant simplicity,
contemporary and lyrical. The first profile is marked Simple,
graceful and the second is Gay, debonair.
of Holyoke, Massachusetts
Etude: floating and then not (piano
3'30" $ 6.00 #040066 AP-104
The composer writes: "Etude grew out of a
conversation I had with a colleague. We were contemplating
what it is about some pieces of music that makes them feel
like they are floating on air, and what it is about some
other pieces that makes them seem to be so close to the
earth. Although there are many other elements at work,
one important element seemed to be the nature of the rhythmic
resolution. It is the treatment of rhythm that I chose
to explore in this piece. The form is ABA, where each A
section is mostly floating and the B section is mostly
(intermediate) 6' $ 7.50 #040065 AP-103
The piece was written in 1986 in five movements: Opening
Music, Tennis Racket/Unstrung, Wool Blazer/Circa 1978, Useless
Gift, Costume Jewelry. The composer describes her piece
as "short sketches of found memories, a light-hearted travelogue
through fond childhood thoughts."
Stylistic 'characters' from the music of Debussy,
Schoenberg, Wagner and Mussorgsky serve as a point of departure
in these three movements. Sometimes the references appear in the
form of quotations, other references are simply evocative. The
strategy for this work was to uncover the similarities and relationships
among these different characters--and to guide their evolution
still further into materials which are mine alone. The listener
can identify three bell-theme quotations from Wagner's Parsifal,
Schoenberg's Sechs Kleine Klavierstucke, and Mussorgsky's Boris
Godunov. These unify the three movements. The piece is recorded
on a Leonarda compact disc by Nanette Kaplan Solomon. (Notes by
of Santa Monica, California
Character Sketches for piano
16' $ 8.00 #040067 AP-105
"most accomplished...fascinating... an aural
Rorschach, with side trips " (Los Angeles Times)
"Her Tell-Tale Fantasy is
a piece with subtle musical quotations-paraphrased allusions
to Scriabin, Schoenberg, Ives and Debussy--intended to
invoke the impression of a pianist, performing a highly
contemporary piece of music, who daydreams and drifts occasionally
into wistful thoughts about masterworks of the early twentieth
century. . . impressive." (Fanfare)
Although the notation is precise,
this short piece is designed to create an illusion of improvisation.
At each digression, there are brief paraphrases of works by Scriabin
(Prometheus Symphony), Schönberg (Opus 19 and Opus
16), Ives (Concord Sonata) and Debussy (Dr. Gradus Ad Parnassum).
of Rochester, New York
The Middle of Fortune
4' $ 6.50 #040069 AP-107
Ms. Casella has experimented with
a variety of styles among which The Middle of Fortune emerges
as one of her most appealing compositions.
"A strongly melodic piece, Encore is
both accessible and enjoyable." (Indiana Gazette)
written in 1981 for Diemer's colleague at the University
of California at Santa Barbara, pianist Betty Oberacker.
The piece is virtuosic and technically demanding, concerned
more with short motives than with extended melodic
development. It has been widely performed and is available
on a Vienna Modern Masters compact disc.
Repertoire of the Seventeen National
"Emma Lou Diemer's Toccata is
as unpredictable as it is fun and pleasing. . . a pianistic
"There was a sense of tonality in Miss Diemer's Toccata and
a sense of theater that was very striking indeed." (Charleston
News & Courier)
Written in 1979 for one of her students at the
University of California, the Toccata combines
traditional piano writing with "neo-Cowell effects" (such as hand-dampening the strings
and performing directly on the strings) that are used in fresh ways to create
a "rambunctious pianistic adventure" (Fanfare).
The piece is also described as having "driving rhythm" and as being "infused with a real musical
personality" (Charleston News & Courier). A review in the Chico
News and Review described the piece as follows. "Diemer's Toccata was
filled with wonderful 'in-the-piano' effects--hand-dampened
strings, string-stroked arpeggios, block-like, Messiaen-styled
of Denver, Colorado
Festivous Sonata for Piano
14'30" $ 9.00 #040072
"distinctive sound and
logical structure that satisfied to the last chord" (Keyboard)
The Sonata has three movements
entitled Waltz, Hymn, and Dance.
of Wilton, Connecticut
Six Haiku for Solo Piano
10'30" $ 9.00 #040073
Poems by Erik Lauer. Sketches by Amy
Recording: I Virtuosi CD 502
"captures both the spirit and the specific
mood of each poem" (Pan Pipes)
The six short musical statements of
the piece are inspired by six poems written by her son when he
was twelve. The first takes
into account the haiku pattern of 5 + 7 + 5 syllables. The second
expores the extreme ranges of the piano. The fifth makes clear
the connection to
the clock. And the sixth explores the damper pedal, glissandi,
overtones and shifting harmonies. (Notes by the composer.)
Rags à la française for solo piano
le crépuscule & l'aurore (twilight & dawn)
4' $ 0.00 # AP-
two rags were written in 2006 and dedicated to Sandro Russo.
They were awarded First Prize in a competition sponsored
by the National League of American Pen Women for its biennial
in 2006. Lauer describes the origin of the music as follows:
favorite word in the French language is 'crépuscule.'
I was repeating the word in my mind one day, when the sounds
of a piano piece came into my head. That bit of what some
might call inspiration is now the introduction to what
has turned out to be a concert rag. A companion work, 'L'Aurore,'
was a foregone conclusion. More than a soupçon of
of French musical sounds is to be heard in these pieces."
Lomon, Ruth (1930-2017)
formerly of Cambridge, Massachusetts
Esquisses for piano
10'40" $ 8.00 #040074 AP-112
"...stands in the grand continuity
of writing for piano" (Boston Globe)
In three movements completed in 1992, Esquisses is
dedicated to pianist Emily Corbato.
The first piece, Les
Cloches, was written while the composer was living in Paris and
draws on the complex overtones of European flared tower bells for its harmonic
structure. The note pattern of the coda is based on the Grandshire change
ringing pattern in which two bells change in each round. La Fete
was composed after attending the Native American dances at the Taos Pueblo
in New Mexico. The rhythmic and melodic character of the the Turtle Dance
is the inspiration for this sketch. Memoires de... is the
most introspective of the three pieces. The cantabile theme and reminiscences
carry the music forward with the inevitability of a ballad.
"dazzling" (Lexington Minute Man)
"[a] portrait of the mystical
power behind Indian ritual" (Albuquerque Journal)
Each movement of this piece is based on a character
or mask from the Navajo Yeibichai Night Chants: Changing
Woman, Dancer, Spirit, Clown, and Talking
Monroe, Deborah Jean
of Dallas, Texas
Variations on a Theme by Johannes
Brahms for Piano
8'35" $ 8.00 #040076 AP-114
Composed in 1995, the Variations won
second prize in the annual competition of the International
Alliance for Women in Music.
Trans-Ural Suite for Piano
11'40" $ 11.00
Inspired by Polin's visits to Soviet
Georgia and Armenia and her reading of Beliaev's Central
Asian Music, Shirildang was commissioned
by the Pennsylvania Council on the Arts as well as
the Russian pianist, Viktor Friedman who has performed
the piece throughout Europe. There are four short movements
that incorporate an Uzbekian march and wedding song
along with Khazak, Turkomenian, Tadjik and Khirghiz
Seeger, Ruth Crawford (1901-1953)
(edited by Rosemary Platt)
Kaleidoscopic Changes on an Original
Ending with a Fugue
8'15" $ 12.00 #040078 AP-116
"[In Kaleidoscopic Changes]
Crawford had charted out a daring and advanced path." (Ruth
Crawford Seeger, Judith Tick)
Written in 1924, the same year as her first Preludes for piano, Kaleidoscopic
Changes was premiered by the young composer shortly before her graduation from
the American Conservatory in Chicago. In her recent critically acclaimed biography
on Seeger, Judith Tick writes: "The harmonic language of her Kaleidoscopic
Changes had its share of influences--Chopin, perhaps even Gershwin--and its
moments of originality in its striking dissonance, harmonic boldness, and unpredictable
shifts in mood and figure." Even her teacher, Adolf Weidig, was a little
bewildered by the newness of the idiom in this piece by one who would become
his most reknowned student.
Kaleidoscopic Changes is edited by pianist Rosemary Platt, who also edited Seeger's
nine Preludes for piano, and made the first complete recording of these pieces.
of Charlottesville, Virginia
Widdershins for piano
8'30" $ 8.00 #040079 AP-117
"'Widdershins is an almost obsolete
word (now encountered most often in texts dealing with
sorcery) that means 'counterclockwise.' It describes
neatly some of the moods and structures in Judith Shatin's
neatly contrived and richly textured atonal work, which
drew a dazzling performance... and prolonged applause
from the audience." (Washington Post)
Composed in 1983, this three-movement piece has
an harmonic background of three seventh chords which use all twelve notes
of the chromatic scale. The first movement, Energetic, is
a distorted scherzo; the second movement, Tranquil, is more
lush; the third movement, Savage, whirls to the close.
Appledorn, Mary Jeanne (1927-2014)
formerly of Lubbock, Texas
4'45" $9.00 #040080 AP-118
Recording: CRS CD 9664
Composed in 1946, this is an example of the
composer's early style when she was a student at Eastman.
It is in three movements, homages to Bartok, Bloch and
William Schumann, and is part of a three-work retrospective,
joyous and effervescent. It
inscribed to Howard Ingley.
Contasts was recorded by Kristian Rasmussen
for CRS Master Recordings in 1966.
A Liszt Fantasie for Piano
5' $10.00 #040081 AP-119
Consonance (Contemporary Romantics)
"...a piece with echoes of Lisztian rhetoric
in an unabashedly contemporary context. This is intelligent,
evocative music." (Fanfare)
"...a bravura, high-flying pastiche
of long-breathed melody, tremolos, rolling basses, a gypsy
theme, trills, celestial arpeggiating...the works. It is
a terrific trip!" (IAWM Journal)
A Liszt Fantasie for piano was written
in 1984 and dedicated to William F. Westney. The piece makes musical references
to themes from fifteen compositions by Franz Liszt. A list of the themes
and the sources appears at the end of the score.
A rather Romantic piece, its sonorities are rich and full, its melodies
poignant, its technique bravura and
its mood appassionato. The first
movement is a free fantasy built on
an underlying accelerando with
the beat divided first into two parts,
then three, four and finally six. A pensive
opening gradually becomes
a frenetic finale.
de Vate, Nancy
of Vienna, Austria
13'48" $ 8.00 #040082
Modern Masters CD 2003
swells, and a harmonic language associated with late Romanticism" (Fanfare)
Nancy Van de Vate's first extended work for
solo piano, was composed in Honolulu in 1978.
The second movement is a simple
three-part form with an abbreviated return of the opening material.
Its middle section is a long melody in Brahmsian sixths and
thirds, accompanied in the left hand by an unremitting two-note
ostinato. The third movement, also in three-part form, opens
with a perpetuum mobile in the piano's lowest register.
It gradually moves to the upper end of the keyboard, then drops
down again. A lyric middle section interrupts the perpetuum
mobile, which finally returns and concludes the Sonata.
of Rockport, Massachusetts
"A very free contemporary composition
exploiting all the color and resources of a modern piano.
intense fantasy." (Clavier)
The Fantasy is a dramatic,
free-flowing piece for piano in six contrasting sections,
written in the fall of 1975. Pianist Evelyn
Zuckerman premiered the Fantasy at New England
Conservatory where she
was a faculty member.
The piece has also been performed at the St.
Petersburg Spring Music Festival
in Russia, and broadcast on French Radio. Rosemary
Platt has recorded the music on
a Capstone CD.
Studies for piano
(intermediate) 3' $ 5.00 #040084
"It is a pleasure to meet these
three arresting pieces."
(The Piano Quarterly)
The Three Studies were
written for the composer's most talented piano students in
the early 1970's, and received
a professional premiere at Boston University in 1975, the year
they were published. Teachers have sometimes used these
imaginative pieces in piano classes with different students
playing the three different movements. The titles
are: Mirrors, Daydream, and Fugue.
Harriet Bolz (1909-1995)
Capitol Pageant for Piano Duet
4' $ 7.00 #040128 AP-201
A favorite one-movement piece for two-piano
Lomon, Ruth (1930-2017)
formerly of Cambridge, Massachusetts
Soundings for piano
6'50" $ 8.00 #040085 AP-202
Recording: Capriccio, Vol.
This piece is about sound and Lomon gets some lovely & unusual
ones." (The American Music Teacher) |
Soundings is dedicated to pianist
Iris Graffman Wenglin. A review in Notes describes
the piece as follows: "Most appropriately named, Soundings utilizes
a wide range of effects special but natural to the piano.
Lomon's resourcefulness in
juxtaposing pitch patterns, textures, and instrumental
effects sustains...the overall coloration of the work."
Polin, Claire (1926-1995)
Phantasmagoria for piano
6' $ 8.00 #040086 AP-203
Phantasmagoria calls for the placement
of three or four small metal bells on the central strings
of the piano to produce a harpsichord-like twang. The composer
indicates that this special effect may be omitted, but that
a certain quality of mystery in the piece will be lost thereby.
Bolz, Harriet (1909-1995)
Episode for Organ-Autumn Joy
3' $ 6.00 #040087 AP-204
This piece is an arrangement of the first movement
of the Sonata for Cello and Piano which was written
by Harriet Bolz for her cellist son when he was in high school.
She later arranged the first movement of the Sonata for
organ to be played at his wedding, and it is in this version
that the piece has been frequently performed.
Sonic Essay and Fugue for Organ
7' $ 6.50 #040088 AP-205
Contemplative and fresh, the piece
is marked Andante con moto.
formerly of Cambridge, Massachusetts
Seven Portals of Vision for organ
30' $11.00 #040089 AP-206
"captures the spirit of the poems... audible
imagery" (MLA Notes)
Composed for the four-manual organ in Hill Auditorium
on the campus of the University of Michigan in Ann Arbor, Seven
Portals of Vision is dedicated to Joanne Vollendorf who
premiered the work there in 1983.
The specified registrations indicate
the color contrasts which are essential to the character of
each movement. With these registrations
as a guide, the work can be performed on a smaller instrument.
An assistant is necessary in three movements for the key weights
and register tremolo.
The movement titles are: Kaleidoscope, Elysian
Blake's Vision, Apocalypse,
The Man with the Blue Guitar, Chiaroscuro, and Here
as in a Painting.
Appledorn, Mary Jeanne (1927-2014)
formerly of Lubbock, Texas
"a composer with a wide
range of styles and forms to her credit." (The Music
Van Appledorn dedicated Parquet Musique (1990) to organist and harpsichordist, Barbara Harbach. The piece is short
but fast in nearly continuous sixteenth notes, sometimes single notes in
each hand and sometimes clusters, that only occasionally break for a pause
and a change in tempo.