String (including harp and guitar) Sheet Music

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Grading Scale:
(Durations are in parenthesis)
I-II: Easy
III-IV: Intermediate
V-VI: Advanced
 
 
 
 
 
 
 
BrixtonPublications.com

Home of Brixton Publications (ASCAP) and Howard J. Buss Publications (BMI)

Outstanding concert music for student and professional musicians:
solos, duos, chamber music and more!


String Music (including guitar and harp)

String solos, unaccompanied
String with one other instrument

String ensembles
Strings in chamber music - trios
Strings in chamber music - quartets
Strings in chamber music - quintets and larger

Recordings


String solos, unaccompanied

AWAKENING (2011) for solo harp by Howard Buss is a charming, soulful composition which is strongly influenced by the Jewish Klezmer idiom. The music moves from a mystical, contemplative opening to an energetic finale. Color is added to the ensemble with the use of wind chimes and finger rolls on the body of the harp. This work is a memorable addition to any recital, and because of its spiritual nature, makes a wonderful musical offering in a house of worship. Written for Paola Devoti. (7’)  Grade IV.  Recorded by Paola Devoti on the CD Jewish Memories (available from Brixton).Awakening sound samples: Excerpt_1.mp3 (1.2MB); Excerpt_2.mp3 (1.8MB); Excerpt_3.mp3 (1.3MB)

or to order offline AWAKENING solo harp, B307H $12.00 


THE GUITARIST’S DAY (1996) for solo guitar by Roger C. Vogel. The three witty movements were inspired by the composer’s observations of guitar students at the University of Georgia. Late Afternoon on the Steps depicts a guitarist warming up and practicing for a lesson. Midnight Variations represents a late-night improvisation, and Monday Morning alternates between the frantic panic of oversleeping and calm daydreaming. (16’15”) Grade IV-V. 
The Guitarist’s Day Sound Samples:
Excerpt, Movement 1.mp3 (1MB); Excerpt, Movement 2.mp3 (1005KB);
Excerpt, Movement 3.mp3 (874K)

or to order offline THE GUITARIST’S DAY solo guitar, B908 $8.95 

New! THREE CHARACTER SKETCHES FOR SOLO VIOLA (2014) by Howard J. Buss showcases the agility and beautiful, sonorous tone of the unaccompanied viola. Ranging from lyric tenderness to powerful and sometimes fiery displays, the 3 movements, Internal Dialogue, Moving Outward, and Extroversion, explore a wide range of sonic atmospheres and moods. The sophisticated musical language, coupled with the soaring melodies and intriguing rhythms, make this an audience-friendly concert work as well as an impressive contest piece. Three Character Sketches for Solo Viola is dedicated to violist, Emanuel Olivieri.   (8’)  Grade V-VI. B442  $8.95
Three Character Sketches sound samples: Excerpt_1.mp3 (635KB); Excerpt_2.mp3 (1.2MB); Excerpt_3.mp3 (1.1MB)
or to order offline THREE CHARACTER SKETCHES FOR SOLO VIOLA, B442  $8.95

VEGA OF LYRA “The Harp Star” for solo harp by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of the solo harp. It is dedicated to the renowned Italian harpist, Paola Devoti. The title refers to Vega, also known as Alpha Lyrae, the brightest star in the constellation “Lyra the Harp.” In Greek mythology, Vega’s constellation is said to be the harp played by Orpheus. The title has a dual meaning as it also refers to the person playing the composition. The character of Vega of Lyra ranges from lyric tenderness to powerful, and sometimes fiery technical displays. The music explores a wide array of sonic atmospheres and moods. The sophisticated music language coupled with soaring melodies and intriguing rhythms makes this composition an accessible concert work as well as an impressive contest piece. (7’30” ) Grade V-VI.
Vega of Lyra sound samples: Excerpt_1(1.5MB); Excerpt_2 (1.6MB); Excerpt_3 (1.2MB)
or to order offline VEGA OF LYRA solo harp, B437 $10.00


String with one other instrument

ALPINE SPRING (2008) for flute & harp by Howard J. Buss was composed for Italian flutist Elena Cecconi. Its picturesque Italian subtitle, Riflessi sul lago alpino, translates as “Alpine Lake Reflections” and is suggestive of the glorious awakening of Spring in the region immediately south of the Dolomite Mountains in northern Italy. As one listens to this music it is easy to imagine the glistening reflections of the dramatic Dolomite peaks and vibrant green spring foliage in the lake. Alpine Spring is divided into two main parts. The first is introspective and at times mysterious. The subdued quality of the music coupled with the beautiful melodic lines suggests the alluring enchantment of dawn at the lake. The festive second part is in an ABA-Coda format and mixes Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies. The B section is developmental and at one point the flutist is asked to flutter tongue, suggesting the presence of birds. Alpine Spring received its world premier on May 10, 2008 in the Sala del Ridotto del Teatro Municipale in Piacenza, Italy by flutist Elena Cecconi and harpist Paola Devoti. This work is recorded on the CD Flauto e arpa by Elena Cecconi and Paola Devoti on the Bottega Discantica (Italy) label BDI 187. This CD is imported by and available from Brixton Publications CD-113. (11'30") Grade V-VI.
Alpine Spring scoresamples: Excerpt 1.pdf ((84KB); Excerpt 2.pdf (84KB); Excerpt 3.pdf (88KB)
Alpine Spring sound samples: Excerpt 1.mp3 (1.4MB); Excerpt 2.mp3 (1.2MB);
Excerpt 3.mp3 (1.4MB); Excerpt 4 (ending).mp3 (968KB)

or to order offline ALPINE SPRING flute & harp (sheet music), B414 $16.50

New! CANTILENA (2005) for flute and viola by David Alpher. From the composer: “As its name suggests, Cantilena is all about singing, lyric lines. It’s a songlike dialogue, with contrasting tempi. While melodies are hardly foreign to either instrument, the viola-in the chamber literature and especially the symphonic literature-has had a surfeit of accompanimental, supporting figures. This unthrilling role is kept to a bare minimum in Cantilena. I tried to create a genuine duo, a give-and-take aural relationship between two beautiful instruments that rarely have the whole stage to themselves.” Cantilena was commissioned by flutist Sally Schlichting and was premiered by her and violist Sam Williams in November 2005. (5’30”) Grade IV-V. B112 $12.00
Cantilena sound samples: Excerpt_1.mp3 (963KB); Excerpt_2.mp3
or to order offline CANTILENA, flute and viola, B112, $12.00

FABLES FROM AESOP (2001)by Howard J. Buss, in 5 entertaining movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful, engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. “Buss employs a variety of meters, tonalities, and an equality of parts to set this duet apart from other instrumental duos of mixed descent. This is a captivating achievement of great variety and craftsmanship.” - reviewed by Joel Elias, California State University, Sacramento in the July 2005 International Trombone Association Journal, Vol. 33, No. 3        (13’) Grade V.
Fables from Aesop for violin and cello score samples:
Excerpt, Movement 1.pdf (2 pages, 188KB); Excerpt, Movement 2.pdf (2 pages, 176KB);
Excerpt, Movement 3.pdf (2 pages, 200KB); Excerpt, Movement 4.pdf (2 pages, 216KB);
Excerpt, Movement 5.pdf (2 pages, 268KB)
Fables from Aesop for trombone or bassoon and violin score samples:
Excerpt, Movement 1.pdf (2 pages, 192KB); Excerpt, Movement 2.pdf (2 pages, 200KB);
Excerpt, Movement 3.pdf (2 pages, 180KB); Excerpt, Movement 4.pdf (2 pages, 228KB);
Excerpt, Movement 5.pdf (2 pages, 280KB)
Fables from Aesop for French horn and violin score samples (transposed score):
Excerpt, Movement 1.pdf (2 pages, 196KB); Excerpt, Movement 2.pdf (2 pages, 200KB);
Excerpt, Movement 3.pdf (2 pages, 260KB); Excerpt, Movement 4.pdf (2 pages, 256KB);
Excerpt, Movement 5.pdf (2 pages, 284KB)
or to order offline FABLES FROM AESOP, version for violin & horn, B371 $16.00
or to order offline FABLES FROM AESOP, version for violin & trombone (or bassoon) B372 $16.00 
or to order offline FABLES FROM AESOP, version for violin & cello B373 $16.00
or to order offline FABLES FROM AESOP, version for violin & bass clarinet B371C $16.00

INNER QUEST (2011) for flute & harp by Howard J. Buss was written for the Italian duo of Elena Cecconi, flute, and Paola Devoti, harp. This beautiful and intriguing composition captures a wide range of emotions. The character and musical development of Inner Quest is analogous to the train of thoughts and feelings one may experience during a spell of internal dialog.
(7')  Grade V-VI.  B422 $16.50  


Inner Quest sound samples: Excerpt 1 (the opening).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
or to order offline INNER QUEST flute & harp.  B422 $16.50  


PHOENIX (1986) by Haskell Small. This dynamic duo was inspired by the story of the Phoenix in ancient Egyptian mythology. ”Sparkling, a fabulous showpiece!” Haskell Small has been hailed by the Washington Post for his "rich imagination and assured mastery." Recorded by Virginia Nanzetta, flute and Sydney Harth, violin on the CD “25 Preludes” on Northeastern Records Classical Arts NR-242-CD. - version for flute and violin Sound Sample.mp3 (800K) (10’30”) Grade V.
or to order offline PHOENIX - version for flute and violin, B601 $15.00
or to order offline PHOENIX - version for flute and cello B602 $15.00


RHAPSODY AND ALLEGRO (2000) for piccolo & harp by Robert Frank. The first movement alternates between free, cadenza-like material and metered, coordinated passages. The second is playful with soaring, lyrical melodies. Commissioned for Diane Boyd, premiered at the 2000 N.F.A. Convention in Columbus, Ohio.  (8’)   Grade V.
Rhapsody & Allegro Sound Samples:
Movement 1, Excerpt.mp3 (1MB); Movement 2, Excerpt (the ending).mp3 (1MB)

or to order offline RHAPSODY AND ALLEGRO piccolo & harp, B712 $20.00

SEASIDE REFLECTIONS (1993) flute & harp by Howard J. Buss captures the serenity of musing by the sea. On the preface page to the score is printed the following free verse by the composer. It is suggested that the poem be narrated immediately before the performance and/or printed in the program notes to set the mood for the music:: “On the shore of eternity swirling currents of liquid chaos gather for and disperse as foam. As rock wears to sand all dissonance transforms to serenity. Time presses no longer.” Dedicated to Brian Luce and Carrol McLaughlin. This is a memorable recital piece with real audience appeal. (7’) Grade IV.
Seaside Reflections (flute & harp version) sound samples: Excerpt 1.mp3 (1MB), Excerpt 2.mp3 (1.3MB)
or to order offline SEASIDE REFLECTIONS, version for flute & harp, B338H $10.00

Seaside Reflections for clarinet and harp sound sample: Excerpt.mp3 (1MB)

or to order offline SEASIDE REFLECTIONS, version for clarinet & harp, B338CH $12.00

or to order offline SEASIDE REFLECTIONS, version for oboe & harp, B338AH $10.00


New! TETE-A-TETE (2014) for violin and viola duo by Roger C. Vogel, in 5 movements: Beginnings, Hommages, Conversations, Eulogy, and Dance. This significant concert work was written for Maggie Snyder and Michael Heald and premiered by them in February, 2014. The term “tête-à-tête” refers to a conversation between two persons, and these charming pieces represent 5 different moods, or topics that might be discussed. (17’30) Grade V- VI.  B939 $18.50
Tête-à-tête YouTube videos (live performance) Movement 1; Movement 2; Movement 3; Movement 4; Movement 5
or to order offline TETE-A-TETE, violin and viola, B939 $18.50

TIME CAPSULE (2002) by Howard Buss is an entertaining sonatina in four movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the two instruments. (7’) Grade IV.
or to order offline TIME CAPSULE, Version for violin & B-flat clarinet, B351 $8.95
or to order offline TIME CAPSULE - Version for two violins, B352 $8.95

TWILIGHT REFLECTIONS (2001) for flute & guitar by Roger Vogel, written for the Helios Duo.The lyrical nature of the music suggests images of fading light after sunset reflected on water or glass, and also refers to evening thoughts, perhaps at times dramatic ones. (8’) Grade V.
Twilight Reflections Sound Samples:
Excerpt 1(the opening).mp3 (1MB); Excerpt 2.mp3 (1.2MB); Excerpt 3.mp3 (919KB)
or to order offline TWILIGHT REFLECTIONS flute & guitar, B919 $10.00

TWO POEMS (1992) for flute & guitar by Lee Heritage was inspired by two poems by Emily Dickinson: This - is the land - the Sunset washes - and Wild Nights. Winner of the 1998 Newly-Published Music Contest of the National Flute Association. (6’30”) Grade IV. 
Two Poems Sound Samples:
Excerpt, Movement 1.mp3 (1MB); Excerpt, Movement 2.mp3 (995KB)

or to order offline TWO POEMS flute & guitar, B722 $12.00 

WAVE TRAIN (1990) for flute & guitar by Howard J. Buss. The interaction of the lyrical melodies in this beautiful and frequently performed work is reminiscent of the patterns created by intermingling waves on the surface of water. The flute & marimba version of this work is recorded on the HoneyRock label by the McCormick Duo. This is an attractive feature number which also works well as a contest piece. (6’15”) Grade IV-V.
or to order offline WAVE TRAIN flute & guitar, B345 $10.00
 
WINTER SUN (1996) for flute & guitar by Roger C. Vogel. This charming work reflects the hope radiating from the sun on a long Winter’s day. (6’) Grade IV.  
Winter Sun Sound Samples: Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (988KB)
or to order offline WINTER SUN flute & guitar, B907 $10.00

 

THE WORLD WITHIN (1999) for clarinet & cello by Howard J. Buss. In recent years this American composer has written a number of works which address the human condition in our rapidly changing, technology-laden society. The World Within is a musical metaphor reflecting an individual's yearning to be reconnected with his spiritual past while at the same time endeavoring to be effective in business and social interactions in the modern day world. While writing this work Buss was fascinated by how an acquaintance was resolving this dichotomy in his own life. Six days a week he works 10-hour days as a businessman, immersed in, and sometimes overwhelmed by, the fast-paced world of business. Yet without exception, he spends the entire day every Saturday at his Synagogue in worship, studying the Talmud, following ancient rituals, and reverently assisting the Rabbi in his sacred duties. In this work the 2 worlds, that of one's modern secular existence and that of one's spiritual heritage, are represented musically by two markedly different compositional procedures. The former is represented with a highly-structured, lyrical 12-tone style. The latter is more spontaneous and is influenced by Jewish musical idioms. In the slow, mysterious opening section these styles are juxtaposed; however, as the composition develops they become synthesized in a thoroughly integrated manner. This is an significant work that is meaningful to perform, and enjoyable (an thought provoking) to listen to. (10’) Grade V.
The World Within Sound Samples: Excerpt 1.mp3 (917KB); Excerpt 2.mp3 (922KB); Excerpt 3.mp3 (1.1MB)
The World Within was written for clarinetist Keith Koons, and cellist, Melissa Kraut. It was premiered by these artists on February 6, 2000 at the University of Central Florida in Orlando.

or to order offline THE WORLD WITHIN (1999) for clarinet & cello, B367 $16.50 

ZOOM (2011) for bass trombone (or tuba) and harp by Howard J. Buss was commissioned by Brandt Attema and Astrid Haring and written during the winter of 2010-11. The composition was inspired by the spectacular images as seen through a satellite camera as the composer zoomed in on the coastline of The Netherlands. The strong narrative quality of the music couples with Buss’ unique style of soaring lyricism with crisp, energetic rhythms and colorful harmonies, makes this work accessible to a wide array of different types of audiences. (10'30") Grade VI.
 Zoom sound samples: Excerpt 1 (1.2MB); Excerpt 2 (1.1MB); Excerpt 3 (1.2MB); Excerpt 4, the ending (1.1MB)
or to order offline ZOOM bass trombone (or tuba) and harp, B426 $20.00

String ensembles

SINFONIETTA (1990) for string quintet (2-1-1-1) or string orchestra by Howard J. Buss was commissioned by the Imperial Symphony Orchestra to commemorate the 50th Anniversary of the American Music Center, the official United States information center for music. This colorful composition was premiered by the Imperial Symphony Orchestra on April 23, 1991 in Lakeland, Florida.Sinfonietta commences with a beautiful, mystical introduction that is somewhat transparent in nature. Haunting melodies for the solo viola and violin are superimposed over the sustained sonorities of the ensemble creating a deeply reflective mood. The music gradually becomes agitated and builds in intensity as the introduction gives way to a sequence of passages of varying length and character: A fanfare-like transition followed by an energetic segment characterized by driving rhythms and changing meters leads to a section featuring buoyant melodies where, through the fast-moving surface elegance, runs an undercurrent of tension. The composition concludes in a spirit of triumphant proclamation. Sinfonietta Sound Samples: Excerpt 1.mp3 (914KB); Excerpt 2.mp3 (1MB) (6’30”) Grade V.
or to order offline SINFONIETTA, Version for string quintet (2-1-1-1), B336 $20.00   
or to order offline SINFONIETTA, Version for string orchestra, B337 $20.00


Strings in chamber music - trios

A THOUSAND WORDS for clarinet, viola & trombone by Thomas Zugger in four colorful movements: Irony, Blue Image, Serenity, and Rush Hour. (14’) Grade V.
A Thousand Words score samples (transposed score):
Excerpt, Movement 1.pdf (3 pages, 355KB); Excerpt, Movement 2.pdf (2 pages, 329KB);
Excerpt, Movement 3.pdf (2 pages, 296KB); Excerpt, Movement 4.pdf (3 pages, 485KB)

or to order offline A THOUSAND WORDS for clarinet, viola & trombone, B742 $20.00 

ATLANTIC LEGEND (1983) by David Alpher evokes images of the craggy, rock bound coast of New England and the timeless lore of the North Atlantic. Although the instrumentation suggests a Baroque continuo sound, the musical material is exclusively 20th Century. (14’30”) Grade V.
Atlantic Legend (viola/cello/harpsichord version) Sound Samples:
Sound Sample 1.mp3 (989K) Sound Sample 2.mp3 (1MB) (Recorded on Ongaku Records #024-112)
or to order offline ATLANTIC LEGEND, version for viola, cello & harpsichord, B101 $22.00 
Atlantic Legend (flute/viola/harpsichord version) Sound Samples:
Excerpt, Movement 1.mp3 (1MB); Excerpt, Movement 2.mp3 (978KB)

or to order offline ATLANTIC LEGEND, version for flute, viola & harpsichord, B102 $22.00 

AWAKENING by Howard Buss is a charming, soulful composition strongly influenced by the Jewish Klezmer idiom. The music moves from a mystical, contemplative opening to an energetic finale. Color is added to the ensemble with the use of wind chimes, finger cymbals, and finger rolls on the body of the string bass. This work is a memorable addition to any recital, and because of its spiritual nature, makes a wonderful musical offering in a house of worship. (7’)  Grade IV.
Awakening
for flute, guitar, and string bass score sample (score in C):
Opening.pdf (3 pages)
or to order offline AWAKENING, version for alto flute, guitar & string bass, B307A $16.50 
Awakening (clarinet, guitar a& string bass version) Sound Samples:
Excerpt 1, the opening.mp3 (1.2MB); Excerpt 2.mp3 (1.2MB); Excerpt 3 (the end).mp3 (1.1MB)
or to order offline AWAKENING - version for clarinet, guitar and string bass  B307 $16.50 

CANTICLES for clarinet, cello & piano by Roger Vogel is a beautiful, lyrical work in two movements: Lied Rhapsody and Serenade-Caprice.  While often associated with liturgical music. The term “canticle” is simply a synonym for a song. In Canticles the main musical ideas are song-like melodies that are shared by all three instruments.  (18’)  Grade V.
Canticles sound samples: Excerpt,Mvt.1A.mp3 (1.1MB); Excerpt,Mvt.1B.mp3 (1.4MB); Excerpt,Mvt.2A.mp3 (1.4MB); Excerpt,Mvt.2BEnd.mp3 (1MB)
or to order offline CANTICLES clarinet, cello & piano, B929 $22.00  

CONSENSUS FENCES (1991) for flute/piccolo, clarinet/bass clarinet & string bass by Erik Lund. This energetic trio is a “must” for the advanced new music ensemble.Sound Sample 1.mp3 (976K) Sound Sample 2.mp3 (1MB) Recorded on Opus One Records: CD164 by the Ciosone Trio. (10’30”)  Grade VI.
or to order offline CONSENSUS FENCES flute/piccolo, clarinet/bass clarinet & string bass, B401 $22.00

   
THE DEVIL’S SONGBOOK “Eight Irreverent Songs” (1993) for medium or high voice, bassoon (or cello or contrabass) and piano by Roger C. Vogel is based upon humorous texts which explore the nature of various aspects of human nature. The songs are entitled Of Politicians (lyrics by William Shakespeare and Hilaire Belloc), Of Businessmen (lyrics by Mark Twain), Of Critics and Music (lyrics by Robert F. Murray, Charles Lamb, and the composer), Of Vanity (lyrics by James Thomson), Of Attorneys (lyrics derived from an anonymous quote on the Headstone of Mr. Jonathan Gill, Esq. who died February 6, 1751), Of the Media (lyrics by Humbert Wolfe), Of Vanity (anonymous), and Of Celebration (lyrics by Dorothy Parker). (20’15”) Grade V.
The Devils Song Book Sound Samples:
Of Politicians, Excerpt 1.mp3 (1MB);
Of Attorneys, Excerpt 2 .mp3 (1.2MB;
Of Businessmen, Excerpt 3.mp3 (961KB);
Of the Media, Excerpt 4.mp3 (986KB);
Of Critics and Music, Excerpt 5.mp3 (836KB);
Of Virtue, Excerpt 6.mp3 (1.1MB);
Of Vanity, Excerpt 7.mp3 (1.1MB);
Of Celebration, Excerpt 8.mp3 (1MB)

or to order offline THE DEVIL’S SONGBOOK medium or high voice, bassoon (or cello or contrabass) and piano, B901 $30.00

IN THE MIRROR OF TIME (2003) for clarinet, violin & cello by Howard Buss in two engaging movements: Recollections and Moving On. The first is lyrical and sweet and is permeated by a nostalgic ambience. The second retains some of the sentimentality of the first, but is more animated and pushes forward suggesting the relentless progression of time. Each movement is approximately 5 minutes in duration. (10’) Grade V-VI.
In the Mirror of Time Sound Samples:
Sample Movement 1A.mp3 (1.1MB) Sample Movement 1B.mp3 (450K)
Sample Movement 2A.mp3 (1.2MB) Sample Movement 2B.mp3 (1MB)

or to order offline IN THE MIRROR OF TIME clarinet, violin & cello, B389 $18.50

LOVE LETTERS (2002) for high voice (soprano or tenor), violin & piano by Roger C. Vogel is an entertaining and memorable song cycle based on texts selected to represent the many different aspects of the universal emotion of love: from longing, exuberance, excitement, and playfulness to sorrow and despair. The individual songs may be performed individually. Love Letters is recorded on the OASIS CD Love Letters (ORCV4000), available from Brixton Publications CD-109.

(45’) Grade IV-V.
The songs are: 1. Your Letter Moved Me 2:29; 2. I Lie Awake 3:52; 3. Dear Miss West Forty-seventh Street 1:49; 4. My Dearest Nell (voice and piano) 7:45; 5. The French Ladies 3:39
6. My Darling Dear, Delightful Ringo 2:57; 7. Have You Heard That I Love You (voice and violin) 3:07
8. Alas! I have Suffered Your Scorn! 11:36; 9. Everything Measurable Passes 1:45
10. Interlude (violin and piano) 2:59; 11. Adieu, I Seal My Letter 4:36
or to order offline LOVE LETTERS high voice (soprano or tenor), violin & piano, (sheet music) B925 $48.50


REMEMBRANCES (2000) by Howard J. Buss is a lyrical, enjoyable work written in an appealing modern style. It was written immediately following the death of the composer's 97-year-old grandmother. Rather than being a somber memorial or musical epitaph, this charming and melodious composition is a celebration of life. The character of the opening section is contemplative. Gradually the music becomes more animated and Remembrances finishes in a spirit of buoyant optimism. (8’) Grade IV.
Remembrances, version for clarinet, cello & piano sound samples: Excerpt 1.mp3 (815KB); Excerpt 2.mp3 (668KB); Excerpt 3 (the ending).mp3 (709KB)
Remembrances, version for flute, cello & piano Score sample: Excerpt.pdf (5 pages)
Remembrances, version for trumpet, cello & piano Score sample: Excerpt.pdf (5 pages)

or to order offline REMEMBRANCES - Version for flute, cello & piano, B366 $18.50 
or to order offline REMEMBRANCES - Version for trumpet, cello & piano, B364 $18.50
or to order offline REMEMBRANCES - Version for clarinet, cello & piano  B365 $18.50


REVERIE (1992) for clarinet, viola & piano by Howard J. Buss. This beautiful, neo-impressionistic work was commissioned by Luis Rossi and the Trio de Buenos Aires. It was premiered by this ensemble in Madrid, Spain at the Circulo de Bellas Artes on February 20, 1994. Reverie is a sophisticated work, rewarding for the performers and audience alike. As the title suggests, the music is contemplative. The writing is idiomatic and imaginative. This composition is a "must". (10’30”)  Grade V.  
Reverie Sound Samples: Excerpt 1.mp3 (1.1MB); Excerpt 2.mp3 (1MB);
Excerpt 3.mp3 (1.1MB); Excerpt 4.mp3 (1.2MB)

or to order offline REVERIE clarinet, viola & piano, B335 $18.50 

SAINT FRANCIS AND THE ANIMALS for flute, clarinet & harp by Howard J. Buss is a tribute to St. Francis of Assisi, the venerated Catholic friar, preacher, founder of several Orders, and lover of animals and the environment. Cast in 2 programmatic movements, The Birds, and The Wolf, this composition musically portrays two of the many well-known stories of how Saint Francis communicated with animals. Saint Francis and the Animals was commissioned by Kathleen Jones for ClarinetFest 2013 in Assisi, Italy.  (11’30”) Grade V-VI.  B434   $28.50
Saint Francis and the Animals
Sound Samples: Movement I, excerpt 1.mp3; Movement 1, excerpt 2.mp3; Movement II, excerpt 1.mp3; Movement II, excerpt 2.mp3; Movement II, excerpt 3.mp3

or to order offline Saint Francis and the Animals flute, clarinet & harp, B434  $28.50

TENNESSEE SUITE (2001) for flute, viola & piano by Howard J. Buss is based upon the composer’s visit to the Smoky Mountains, in four beautiful and picturesque movements: Mystic Dawn, Treetop Capers, Cades Cove, and The Trail to Abrams Falls. Written for Shelley Binder. (13’) Grade V. 
Tennessee Suite Sound Samples:
Excerpt, Movement 1.mp3 (1MB); Excerpt, Movement 2 (the ending).mp3 (592K);
Excerpt, Movement 3.mp3 (1.2MB); Excerpt, Movement 4.mp3 (1.2MB)

or to order offline TENNESSEE SUITE flute, viola & piano, B370 $22.00 

TRIO for flute, cello & piano by Haskell Small is divided into 3 movements: Allegro non-troppo, Andante, and Allegro molto energico. Haskell Small has been hailed by the Washington Post for his "rich imagination and assured mastery." Recorded on the CD 25 Preludes: A Musical Odyssey (Northeastern Classical Arts NR 242-CD) by Virginia Nanzetta, flute; Douglas Wolters, cello; and Haskell Small, piano. (10”) Grade V.  Trio Sound Samples:
Sample Movement 1.mp3 (1MB) Sample Movement 2.mp3 (942K) Sample Movement 3.mp3 (1009K)

or to order offline TRIO flute, cello & piano, B604 $18.50

Strings in chamber music - quartets

EINE KLEINE SNAILMUSIK for high voice (soprano or tenor), trumpet, cello & piano by Roger C. Vogel is a humorous setting of May Sarton’s poem of the same name. Theatrical gestures are used in this lighthearted and playful work. In the preface to the score thecomposer writes, "The humor in this work will be greatly enhanced by setting a lighthearted mood before beginning the work and by appropriate gestures throughout." The vocal range is from d below the treble staff to Ab above the staff. (8’) Grade V.  
Eine Kleine Snailmusik Sound Sample: Excerpt.mp3 (1MB)

or to order offline EINE KLEINE SNAILMUSIK high voice (soprano or tenor), trumpet, cello & piano, B912  $18.50
INTO EACH LIFE (1997) for flute, cello, piano & one percussion by Howard J. Buss was commissioned by The Florida Flute Association and the Brannen-Cooper Fund as a tribute to the renown flutist Albert Tipton. This colorful work is cast in two main sections, the first of which juxtaposes lyrical and turbulent passages. The final section takes the form of a joyous fugue. The instrumentation includes vibes, orch. bells, cymbals, tam-tam, bongos, wood block and tambourine. (11’) Grade V.  Score Sample.pdf file ; Percussion Set-up Chart.pdf file
Into Each Life Sound Samples:
Excerpt 1.mp3 (1.2MB); Excerpt 2.mp3 (1.1MB); Excerpt 3.mp3 (1.1MB)

or to order offline INTO EACH LIFEflute, cello, piano & one percussion, B358 $26.50  

LAS MENINAS: VARIATIONS (1985) for oboe, cello, guitar & piano by David Alpher was inspired by the visual variations that Pablo Picasso painted in 1957 on Velasquez’ 1656 masterpiece commonly known as “Las Meninas.” Several different musical styles are employed during this Theme and 21 Variations in a manner analogous to the stylistic changes Picasso effected from one painting to the next. (16') Grade V-VI.
Las Meninas: Variations (ensemble version) Sound Samples: Excerpt 1.mp3 (893KB);
Excerpt 2.mp3 (1MB); Excerpt 3.mp3 (801KB); Excerpt 4.mp3 (1MB)
or to order offline LAS MENINAS: VARIATIONS oboe, cello, guitar & piano, B104 $26.00 

New! SONG WITHOUT WORDS for piano, violin, viola, and cello by David Alpher is a heartfelt and powerful tribute to the composer’s long-time friend and colleague, Lila Deis (1944-2010).  The first movement, Loss, is self-explanatory; music of mourning. After this, and without any pause, the bleak mood is demolished by one huge chord, as though Lila were saying “Enough of that. Let’s have a party!” This super-loud chord ushers in a movement called Perpetual Motion, which is a tribute to Lila’s nonstop upbeat energy and verve. Following a pause for breath, the third movement, Perpetual Song, concludes the work with a kind of festival of melodies, a tribute to the unforgettable lyricism of Lila’s art. (21’) Grade V. B113  $32.00
Song Without Words sound samples: Excerpt_1 (the opening).mp3 (1.4MB) ; Excerpt_2.mp3 (1.2MB) ; Excerpt_3.mp3 (1MB)
or to order offline SONG WITHOUT WORDS, piano, violin, viola, and cello, B113  $32.00

New! TRADITIONS (1990, 2014) for violin, clarinet, guitar & string bass by Howard J. Buss was commissioned by the Luski Endowment for Viva Klezmer! as part of the nationwide 50th Anniversary Celebration of the American Music Center. In 2014 the composer revised the work, further developing some sections. Traditions is a synthesis of traditional Jewish Klezmer music and elements of Western concert music. From the ornate opening cadenza (based upon the well-known "Shalom Alechem" melody to the jubilant, energetic "freilach" which concludes the work, Traditions spans a wide range of emotions. It is meticulously notated so that even if one has not performed Klezmer music before, it is relatively easy to play in this exciting style. (7’10”) Grade IV-V.   Score Samples: Score_excerpt.pdf (4 pages); Clarinet part.pdf (1 page excerpt)
or to order offline TRADITIONS violin, clarinet, guitar & string bass, B340 $18.50 

TRIBUTE TO KEROUAC for clarinet, tenor sax, piano & string bass by David Alpher was inspired by the work, life, and times of Jack Kerouac, “King of the Beat Generation.” Cast in seven entertaining movements, this significant composition is hugely influenced by jazz. In the preface to the score the composer writes: "Kerouac demonstrated the epic contradiction of America: on the one hand its wild energy, joy of life, and expansiveness; on the other, its tendency to self-destruct. Tribute to Kerouac is my musical response to, and commemoration of, this important American writer who liked to describe himself as a 'jazz.poet.'" This significant work is recorded on Ongaku Records CD#024-112. (17’) Grade V.
Tribute to Kerouac Sound Samples:
I. American Nocturne Sample.mp3 (779K)    II. Movin’ On Sample.mp3 (782K)
III. Remembered Sample.mp3 (982K)           IV. Intermezzo Sample.mp3 (693K)
V. Beat Scene Sample.mp3 (996K)               VI. Urgency Sample.mp3 (916K)
VII. Epilogue Sample.mp3 (919K)

or to order offline TRIBUTE TO KEROUAC clarinet, tenor sax, piano & string bass, B110 $32.00 

THE WALRUS AND THE CARPENTER (1989) For narrator, flute, viola & piano by David Alpher. Based upon Lewis Carroll’s well-known poem from Through the Looking Glass (1871) this entertaining composition transforms the familiar words from their Victorian and child-like context to a very different sound world primarily influenced by jazz. Finalist in the 1996 Newly-Published Music Competition of the National Flute Association.  (15’)  Grade V.  The Walrus and the Carpenter Sound Samples:
Excerpt 1.mp3 (993KB); Excerpt 2.mp3 (1MB); Excerpt 3.mp3 (858KB)

or to order offline THE WALRUS AND THE CARPENTER narrator, flute, viola & piano ,B105  $28.50

Strings in chamber music - quintets and larger

THE HEAVENS AWAKEN (2008) for solo bassoon & string quartet by Howard J. Buss is dedicated to bassoonist Arnold Irchai. The structure of this exciting work is highly symbolic in that it was inspired by the details of the visions of the priest Ezekiel while living with the Jewish exiles in Babylon. Ezekiel saw a powerful, glowing, and complex entity appear in the sky out of a “great cloud.” He believed it to be an appearance of God: “Also out of the midst thereof came the likeness of 4 living creatures. And this was their appearance; they had the likeness of a man.” (Ezekiel 1:5 KJV) The formal scheme of The Heavens Awaken is programmatic in the sense that the sequence of events described in the vision is musically represented in a general way. The serene opening gradually becomes mysterious and gives way to a series of passages that serve as an ominous portent to the arrival of the airborne object. The 4 string instruments, each with 4 strings, 4 tuning pegs, and human-like body shape symbolize the 4 “creatures” of the vision. The bassoon represents the “voice” of what Ezekiel believes is God. It should be noted that many people also have interpreted his vision as a sighting of a UFO, described with the insights and vocabulary of the day. “This significant work is a “must for the advanced bassoonist!”  (12’30”)  Grade V-VI.  
The Heavens Awaken sound samples: Excerpt 1.mp3 (1.4MB); Excerpt 2.mp3 (1.4MB); Exerpt 3.mp3 (1.1MB)

or to order offline THE HEAVENS AWAKENbassoon & string quartet, B415 $28.50


MILLENNIUM VISIONS (1999) for clarinet & string quartet by Howard J. Buss in three captivating movements: First Dawn, Meditation, and Quest, was composed in the latter months of 1999 when most of the world was looking forward with eager anticipation to the turn of the Century, and in many minds, the Millennium. The conflict between man’s desire to “progress” in our technological age and his desire to connect to his spiritual past is symbolically represented by an array of musical styles and compositional procedures. The modern world is suggested by passages influenced by popular music styles and 12-tone technique. The longing for spirituality is manifested in the poignant lyricism of the work and its reliance on classical formal structures. Commissioned by ClarinetFest 2000, premiered by Tom Martin (Boston Symphony). (20’) Grade V. 
Sound Sample 1.mp3 (1MB) Sound Sample 2.mp3 (1MB) Sound Sample 3.mp3 (1MB)

or to order offline MILLENNIUM VISIONS clarinet & string quartet, B368  $46.00  

Ocean MoodsOCEAN MOODS “Three Sonic Portraits” (2014) for flute, clarinet, violin, viola, and cello by Howard Buss ranges from lyric tenderness to powerful and sometimes dazzling technical displays. The three movements, Vistas (5:15), From the Depths (3:45), and Blustery (4:25), explore a wide range of sonic atmospheres and moods. The sophisticated musical language, coupled with vibrant melodies and intriguing rhythms, make this an audience-friendly concert work. (13’30”) Grade VI.  B444  $28.50
or to order offline OCEAN MOODS for flute, clarinet, violin, viola & cello B444  $28.50

SHORT STORY (1980) for flute, clarinet, oboe, cello & piano by Haskell Small was commissioned by the Georgetown Symphony. The thematic material in this entertaining work is mostly of a lyrical nature juxtaposed with a "chase" motif and several sections of a gently jazzy flavor. It is essentially in sonata form, with an introductory recitative-like section that repeats in the middle and at the end of the composition. A short fugue based upon the main lyrical theme precedes the ending. Recorded on 4Tay Records CD #4020 “The Twisted Pine Branch.” Haskell Small has been hailed by the Washington Post for his "rich imagination and assured mastery." (10’30”) Grade V-VI. Short Story Sound Samples: Sample 1.mp3 (1MB) Sample 2.mp3 (797K)

or to order offline SHORT STORY flute, clarinet, oboe, cello & piano, B603  $28.50

SINFONIETTA (1990) for string quintet (2-1-1-1) or string orchestra by Howard J. Buss was commissioned by the Imperial Symphony Orchestra to commemorate the 50th Anniversary of the American Music Center, the official United States information center for music. This colorful composition was premiered by the Imperial Symphony Orchestra on April 23, 1991 in Lakeland, Florida. Sinfonietta commences with a beautiful, mystical introduction that is somewhat transparent in nature. Haunting melodies for the solo viola and violin are superimposed over the sustained sonorities of the ensemble creating a deeply reflective mood. The music gradually becomes agitated and builds in intensity as the introduction gives way to a sequence of passages of varying length and character: A fanfare-like transition followed by an energetic segment characterized by driving rhythms and changing meters leads to a section featuring buoyant melodies where, through the fast-moving surface elegance, runs an undercurrent of tension. The composition concludes in a spirit of triumphant proclamation. (6’30”) Grade V.Sinfonietta Sound Samples: Excerpt 1.mp3 (914KB); Excerpt 2.mp3 (1MB)

or to order offline SINFONIETTA - Version for string quintet (2-1-1-1), B336 $20.00   
or to order offline SINFONIETTA - Version for string orchestra B337 $36.00


TRACES(1987) for flute, clarinet, bass clarinet, violin & cello by Erik Lund addresses the individual and collective aspects of a group contending with a common tragedy - realized through various groupings within a quintet and changing compositional procedures. Winner of the 1988 National Composers Competition, recorded on Opus One Records: CD164. (12’40”) Grade VI. 
Traces Sound Samples: Sample 1.mp3 (1MB) Sample 2.mp3 (1MB) Sample 3.mp3 (989K)

or to order offline TRACES for flute, clarinet, bass clarinet, violin & cello  B403  $28.50

WHERE NOW RUSTS THE IRON? (1994) by Howard J. Buss is a dramatic tribute to the composer’s grandfather who, like many ironworkers in his day, worked under brutal conditions with the dream of making life better for future generations. “A moving work touching our communal soul.” (8’) Grade IV-V. 
Where Now Rusts the Iron?
(
voice and piano version) score sample: Excerpt.pdf (6 pages)
Where Now Rusts the Iron? (voice and flute, cello, & 6 percussion version) score sample: Excerpt.pdf (8 pages)
or to order offline WHERE NOW RUSTS THE IRON?, Version for high voice and piano  B346  $12.50 
or to order offline WHERE NOW RUSTS THE IRON?, Version for high voice, flute, cello, and six percussion  B346E  $42.50 

Percussion distribution: Perc. 1: Timpani (4), orchestra bells, tubular bells (shared with perc. 2), and finger cymbals; Perc. 2: two anvils (metal pipes may be substituted), and tubular bells (shared with perc. 1: Perc. 3: Xylophone, and suspended cymbal; Perc. 4: Vibraphone & suspended cymbal; Perc. 5: marimba; Perc. 6: two suspended cymbals, tam-tam, wind chimes & bell tree. Percussion Set-up Chart .pdf file
Text: “Where Now Rusts the Iron?”
Homes now stand where once the foundry coughed.
Countless tons of iron -
wheels and pans,
boilers and pipes,
latches and plates.
Countless train loads of hardware
shrieked from the pounding, grimy world within.

Iron converted from life itself,
energy given form.
Precious moments, days, and years
poured into molds and sealed
amid the ashes and dust,
always ashes and dust,
suspended in life-stealing air.

The graves of the workers overlook this place,
their fam’lies spread afar.
Season come and go, yet frozen in mem’ry
are the days of youth spent in toil, hope, and purpose.
Where now rusts the iron once cast by pounding hearts,
releasing the dreams, the souls,
invested in tough, cold metal?

The foundry still stands among the houses,
coughing on smoke-laden air.
Invisible as the iron once made,
its souls as mist remains.
- Howard J. Buss
Copyright © 1994 by Brixton Publications


Recordings:

Jewish Memoiries CD cover Imported from Bottega Discantica (Italy) BDI 248

New! Jewish Memories, Paola Devoti, harp

All of these compositions for solo harp are performed by one of the world's greatest harpists, Paola Devoti.

Howard J. Buss - Awakening* (published by Brixton) 6:56 Listen
Paola Devoti - Ikh hob dikh lib* 3:11 Listen
Paola Devoti - Freylekhs: frammenti di danza* 4:36 Listen
Valentino Metti - Alenu: fantasia per arpa* 13:08
Paola Devoti - Canto sefarditico* 2:29
Attilio Del Re - Suonando nello scantinato* 4:21
Attilio Del Re - Suite of Yiddish Melodies* 5:33
Alberto Gentilil - Sognando 2:55
Paul Ben-Haim - Poème 4:21
Paola Devoti - Ikh hob dikh lib* 3:11
Paola Devoti - Freylekhs: frammenti di danza* 4:36

*World Premiere Recording

or to order offline Jewish Memories CD - Devoti, CD-116 $22.95

Imported from Bottega Discantica (Italy) BDI 188
Flauto e arpa  (Flute and harp)
Elena Cecconi, flauto (flute) - Paola Devoti, arpa (harp)
Music by Saint-Saens, Buss, Procaccini, Cataldo, Ravel, Del Re, Debussy, Piazzolla - Total playing time: 73' 30'' 1 Camille Saint-Saëns - Fantaisie op. 124   15' 55''
2 Howard Buss - Alpine Spring   12' 50'' (Published by Brixton Publications, see listing above.)
3 Teresa Procaccini - Lied op. 76   5 '42''
4 Glauco Cataldo - Dallo scoglio al mare (From the sea cliff)  9 '34''
5 Maurice Ravel - Piece en forme de Habanera   3 '12''        
6 Attilio Del Re - Yom ha shoah-Rapsodia su temi Yiddish (Rhapsody on issuesYiddish)  10 '23''
7 Claude Debussy - Prelude a l'apres-midi d'un faune  10 '56''
8 Astor Piazzolla - Oblivion   4 '36''
This CD is imported from Italy by Brixton CD-113

or to order offline FLAUTO & ARPA CD, CD-113 $22.95

Music or CDs may only be returned if they are defective.


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