Gamal Abdel-RahimDuo for Violin and Cello

An exciting virtuoso work for violin and cello incorporating ornaments, colors and microtonal Arabic modes (maqamat) in a 20th Century intercultural Arabic masterpiece. Written in 1981 as a wedding present for the composer’s daughter and son-in-law, the lively, syncopated 1st and 3rd movements are based on Egyptian folk songs, We Samahennoba and the love song Ya Nakhletein (Two Palm Trees), while the haunting slow movement is entirely original. Published here for the first time, this unique work is considered to be one of the composer’s finest works. “...a work of remarkable originality and a contribution to the path initiated by Bartok, in its happy synthesis of the European and the Arabic.” Frankfurter Allgemeine Zeitung

Suited for:


For Violin and Cello, 12 minutes.
STR2-0303 . . . $36.00

Gamal Abdel-RahimImprovisation on a Peddler’s Tune

Composed in 1982 for his son-in-law, Egyptian cellist Kamel Salah El-Din, and published here for the first time, this piece is destined to take its place among the major 20th Century works for unaccompanied cello. Despite the free, improvisatory nature of the work implied in it’s title (“Taqasim” in Arabic), Abdel-Rahim crafted a carefully notated, technically challenging virtuoso solo piece based on a peddler’s song from the northeast Egyptian coastal town of Abu Qir. It allows the cellist to have great expression and use many colors evoking the sounds of Egyptian folk instruments, while exploring the Arabic microtonal mode (maqam) Bayyati. A unique addition to the solo cello recital repertoire, described as a landmark in modern Arabic art music.

Suited for:


For Cello Solo, 7 minutes.
VLC-0302 . . . $27.00

Gamal Abdel-RahimTrio (Ekhnaton’s Prayer and Phoenician Dance)

A very unusual and colorful addition to the existing 20th Century repertoire for piano trio. Composed in 1986, the expressive, lyrical Ekhnaton’s Prayer contrasts the lively Phoenician Dance, which is punctuated by the Arabic rhythmic pattern masmoody, including occasional drumming on the body of the cello. A perfect choice for the trio looking for a unique crowd-pleaser to spice up programs.

Suited for:


For Violin, Cello and Piano, 12 minutes.
PN3-0304 . . . $42.00

Paquito D’RiveraAfro

A slow introduction is followed by an energetic, rhythmic and modal six-eight dance over an Afro-Cuban ostinato. Arranged for trio by Gustavo Tavares.

Suited for:


For Piano Trio - Part 1: Clarinet, Violin or Trumpet, Part 2: Cello, Bassoon or Trombone, 6 minutes.
PN3-0321 . . . $34.00

Paquito D’RiveraDanzón

Paquito’s classical/Latin jazz trio has many lyrical sections and is composed in the style of a Cuban danzón. Includes an optional improvisation section for the top voice (clarinet, violin or trumpet)

Suited for:


For Piano Trio - Part 1: Clarinet, Violin or Trumpet, Part 2: Cello, Bassoon or Trombone, 6 minutes.
PN3-9820 . . . $22.00

Paquito D’RiveraPreludio y Merengue

A memorable recital work and excellent example of Paquito’s unique mix of Latin and modal jazz styles. The colorful and episodic Preludio is followed by an energetic, lilting Merengue in five-eight time. Includes improvised solos for the top voice (clarinet, violin or trumpet). Arranged for trio by Franco D’Rivera and Pablo Zinger.

Suited for:


For Piano Trio - Part 1: Clarinet, Violin or Trumpet, Part 2: Cello, Bassoon or Trombone, 6 minutes.
PN3-0322 . . . $39.00

Paquito D’RiveraPreludio y Merengue

A memorable recital work and excellent example of Paquito’s unique mix of Latin and modal jazz styles. The colorful and episodic Preludio is followed by an energetic, lilting Merengue in five-eight time. Includes improvised solos for the clarinet. A wonderful string quartet arrangement by Gustavo Tavares.

Suited for:


For Clarinet and String Quartet, 6 minutes.
CL-0322 . . . $42.00

Paquito D’RiveraSong for Peace

Based on a poem by Cuban exiled poet Annie Colina, A Song for Peace was commissioned by the New York Festival of Songs. Originally scored for voice and piano, Paquito has added clarinet and cello parts. Includes an optional section for improvised solos.

Suited for:


For Soprano and Piano, with optional Clarinet and Cello, 6 minutes.
CL-0324 . . . $30.00

Abdo DagherFan el-musiqä el-misriyya el-hadithah el-’arabiyyah es-sufiyyah

(The New Egyptian-Arabic Sufic Art Music)

A volume of six (approximately 5 minutes each) expressive, fully transcribed compositions by Egyptian violinist/composer Abdo Dagher, master virtuoso in the traditional art of monodic (non-harmonized) Arabic music. The pieces include Layali Zamaan (Nights of the Past), Longa Nahawand, An-Nil (The Nile), Nidaa’ (Call to Prayer), Longa ‘Agam, and Sama’i Kurd Yakaa (10/4 meter). These melodic compositions will give Western classical musicians an understanding of Arabic music, including ornamentation, microtones (sikha), modes (maqamat) and rhythmic patterns (wazn). They may be performed as unique solo recital pieces or in chamber music settings with completely flexible instrumentation, including optional improvised cadenzas (taqasim). Optional percussive rhythmic patterns may be added with Arabic or Western percussion; all versions include both Arabic and Western percussion notation. String versions may be played with authentic Arabic scordatura tuning (down one whole step).

Suited for:


For Cello or Double Bass, 30 minutes.
BASS-0180 . . . $20.00

Louise FarrencNonetto

One of the first women composers to gain wide regard throughout Europe, Farrenc studied composition with Hummel and Reicha and received critical acclaim from Schumann and Berlioz. One of her most successful works, the Nonetto in Eb is similar to the Beethoven Septet and the Schubert Octet, featuring solo lines for all of the instruments. The premiere of the Nonetto featured legendary 19-year-old violinist Josef Joachim and catapulted Farrenc to near-celebrity status as a composer, so much so that the Paris Conservatoire agreed to put her salary in line with its male professors!

Suited for:


For Violin, Viola, Cello, Double Bass, Woodwind Quintet, 26 minutes.
MC-9601 . . . $56.00

Hoang CuongThoa noi nho mong (Longing for Times Past)

Bien tau chu de cho bon nhac cu
(Variations for Four Musical Instruments)

The sound of the dan bau, or single-string zither, is uniquely Vietnamese. This monochord instrument can be traced back to 7th-century northern Vietnam. The musician holds a bamboo pick in the right hand and plucks the steel string to obtain harmonics while the left hand moves a flexible handle carved out of buffalo horn to create the melody. Historically, the dan bau has been played alone or to accompany recitations of poetry. In recent years, however, as in this work, composers have achieved striking effects by combining the dan bau with contemporary Western instruments. The composer has written the substitute clarinet part so that Western ensembles may perform this piece in the event that there is no dan bau player available.

Professor Hoang, director of the City Conservatory of Music in Ho Chi Minh City (Saigon), based this instrumental work on a traditional melody from an old song form of north Vietnam, quan ho, or antiphonal courting song. In this tradition the young men of one village band together to go serenade the young women of a neighboring village, and the women respond in song. The title of this work, which translates roughly as “satisfying the longings stirred by memory,” is taken from a line of the folk song on which it is based. “When I miss you,” the song goes, “I go to the river where we met and drink from its waters to calm the emotions stirred up by my thoughts of you.” The work is in the form of a theme and four variations.

Thoa noi nho mong was premiered in North Carolina on February 2nd, 2003 by the Mallarme Chamber Players (Anna Ludwig Wilson, flute, Hsiao-mei Ku, violin, Jonathan Kramer, cello and Deborah Hollis, piano, with guest artist Nguyen Phong, dan bau).

Suited for:


For Flute, Dan Bau (or Clarinet), Cello and Piano, 15 minutes.
MC-0750 . . . $39.00

Scott JoplinJoplin Album

Four ragtime favorites, Paragon Rag, Weeping Willow, Binks’ Waltz and Sugar Cane, scored for two flutes (but also playable with flute and oboe or violin), and bassoon (or ‘cello). Arranged by Earl C. North.

Suited for:


For Woodwind Trio (2 Flutes or Flute/Oboe, with Cello or Bassoon), 12 minutes.
WW3-9631 . . . $20.00

Antonio LauroEl Niño

Venezuelan Antonio Lauro’s beautiful waltz as arranged by Paquito D’Rivera. (2 flutes and bass flute; the second flute part may also be performed on oboe or violin; the lowest part may be played on cello or bassoon instead of bass flute).

Suited for:


For Flute Trio (2 Flutes and Bass Flute, with substitute parts), 3 minutes.
FL-9823 . . . $25.00

Undine Smith MooreAfro-American Suite

Dr. Moore was one of the most prominent African-American women composers of the 20th Century. Published here for the first time, her Afro-American Suite (1969) has four movements based on traditional Negro spirituals, but adapted harmonically using the modern composer’s tools. A very accessible chamber music piece for instrumental “voices,” well suited for recitals or church. (The slow movement is written for alto flute).

Suited for:


For Flute, Cello and Piano, 12-13 minutes.
MC-0150 . . . $30.00

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