{"title":"Sheet music composed by Florence Price (1887-1953)","description":"Florence Price (1887-1953) was a composer from United States of America. Read more on \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Florence_Price\" target=\"_blank\"\u003eWikipedia\u003c\/a\u003e.","products":[{"product_id":"anthology-of-art-songs-by-black-american-composers-marks","title":"Anthology of Art Songs by Black American Composers","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-w-work\"\u003eJohn W. Work (1871-1925)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/adolphus-hailstork\"\u003eAdolphus Hailstork (1941-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/william-grant-still\"\u003eWilliam Grant Still (1895-1978)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/hale-smith\"\u003eHale Smith (1925-2009)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/david-baker\"\u003eDavid Baker (1931-2016)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/george-walker\"\u003eGeorge Walker (1922-2018)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/undine-smith-moore\"\u003eUndine Smith Moore (1904-1989)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/dorothy-rudd-moore\"\u003eDorothy Rudd Moore (1940-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/margaret-bonds\"\u003eMargaret Bonds (1913-1972)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/h-leslie-adams\"\u003eH. Leslie Adams (1932-)\u003c\/a\u003e, Charles Brown (1940-), Cecil Cohen (1894-1967), \u003ca href=\"\/zh\/collections\/noel-da-costa\"\u003eNoel Da Costa (1929-2002)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/mark-fax\"\u003eMark Fax (1911-1974)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/eugene-w-hancock\"\u003eEugene W. Hancock (1929-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/thomas-h-kerr\"\u003eThomas H. Kerr (1915-)\u003c\/a\u003e, Charles Lloyd (1948-), Wendell Logan (1940-2010), Maurice McCall (1943-), \u003ca href=\"\/zh\/collections\/coleridge-taylor-perkinson\"\u003eColeridge-Taylor Perkinson (1932-2004)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/howard-swanson\"\u003eHoward Swanson (1907-1978)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/olly-wilson\"\u003eOlly Wilson (1937-2018)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano, Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eCello, Piano, Voice, Baritone\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780793508716\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 160\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eH.L. Adams: For You There is No Song\u003c\/li\u003e\n\u003cli\u003eBaker: Early in the Morning\u003c\/li\u003e\n\u003cli\u003eBaker: Good Assassination Should be Quiet, A Status Symbol\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/bonds-three-dream-portraits\"\u003eBonds: Three Dream Portraits\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBrown: The Barrier\u003c\/li\u003e\n\u003cli\u003eBrown: Song Without Words\u003c\/li\u003e\n\u003cli\u003eC. Cohen: Death of An Old Seaman\u003c\/li\u003e\n\u003cli\u003eDa Costa: 2 Songs for Julie Ju\u003c\/li\u003e\n\u003cli\u003eFax: Cassandra's Lullaby\u003c\/li\u003e\n\u003cli\u003eFax: Love\u003c\/li\u003e\n\u003cli\u003eHailstork: A Charm at Parting\u003c\/li\u003e\n\u003cli\u003eHailstork: I Loved You\u003c\/li\u003e\n\u003cli\u003eHancock: Absalom\u003c\/li\u003e\n\u003cli\u003eHancock: Nunc Dimittis\u003c\/li\u003e\n\u003cli\u003eKerr: Riding to Town\u003c\/li\u003e\n\u003cli\u003eLloyd: Compensation\u003c\/li\u003e\n\u003cli\u003eLogan: If There be Sorrow\u003c\/li\u003e\n\u003cli\u003eLogan: Marrow of My Bone\u003c\/li\u003e\n\u003cli\u003eMcCall: Chanson Triste\u003c\/li\u003e\n\u003cli\u003eMcCall: Sweet Sorrow\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/dr-moore-weary-blues\"\u003eD.R. Moore: Weary Blues\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/us-moore-love-let-the-wind-cryhow-i-adore-thee\"\u003eU.S. Moore: Love Let the Wind Cry...How I Adore Thee\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003ePerkinson: A Child's Grace\u003c\/li\u003e\n\u003cli\u003ePerkinson: Melancholy\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-night\"\u003ePrice: Night\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003ePrice: Song to the Dark Virgin\u003c\/li\u003e\n\u003cli\u003eH. Smith: Velvet Shoes\u003c\/li\u003e\n\u003cli\u003eStill: Grief\u003c\/li\u003e\n\u003cli\u003eSwanson: A Death Song\u003c\/li\u003e\n\u003cli\u003eSwanson: I Will Lie Down in Autumn\u003c\/li\u003e\n\u003cli\u003eSwanson: The Negro Speaks of Rivers\u003c\/li\u003e\n\u003cli\u003eWalker: Lament\u003c\/li\u003e\n\u003cli\u003eWalker: A Red, Red Rose\u003c\/li\u003e\n\u003cli\u003eWilson: Wry Fragments\u003c\/li\u003e\n\u003cli\u003eWork: Dancing in the Sun\u003c\/li\u003e\n\u003cli\u003eWork: Soliloquy\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Edward B. Marks Music Company","offers":[{"title":"Default Title","offer_id":32324967432271,"sku":"M891","price":21.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ac498be6ff9535b3467fa8be35b17437.jpg?v=1781785519"},{"product_id":"piano-music-of-africa-and-the-african-diaspora-volume-3-oup","title":"Piano Music of Africa and the African Diaspora - Volume 3","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-w-work\"\u003eJohn W. Work (1871-1925)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/robert-nathaniel-dett\"\u003eRobert Nathaniel Dett (1882-1943)\u003c\/a\u003e, Ludovic Lamothe (1882-), \u003ca href=\"\/zh\/collections\/oswald-russell\"\u003eOswald Russell (1933-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/wallace-m-cheatham\"\u003eWallace M. Cheatham (1945-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/akin-euba\"\u003eAkin Euba (1935-2020)\u003c\/a\u003e, Andrés Wheatly (1916-2009), Gamal Abdel-Rahim (1924-1988), \u003ca href=\"\/zh\/collections\/samuel-coleridge-taylor\"\u003eSamuel Coleridge-Taylor (1875-1912)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/howard-swanson\"\u003eHoward Swanson (1907-1978)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780193868243\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 64\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/pdf\/13\/9780193868243.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eListen\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cfigure\u003e\u003caudio controls src=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/mp3\/music\/nyaho3_deepriver.mp3\" type=\"audio\/mpeg\"\u003e\u003c\/audio\u003e\u003c\/figure\u003e \u003cfigure\u003e\u003caudio controls src=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/mp3\/music\/nyaho3_la_dangereuse.mp3\" type=\"audio\/mpeg\"\u003e\u003c\/audio\u003e\u003c\/figure\u003e \u003cfigure\u003e\u003caudio controls src=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/mp3\/music\/nyaho3_variations.mp3\" type=\"audio\/mpeg\"\u003e\u003c\/audio\u003e\u003c\/figure\u003e \u003c\/div\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe third volume for early advanced pianists explores even more genres than the first two volumes, such as elements of Tango and Haitian Merengue music. 'Cell Phone Blues' is derived from pop music and Jazz. This volume also includes spirituals and African folksongs. Performance notes and composer biographies are provided as well.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eWork: Take Me Back\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/coleridge-taylor-deep-river\"\u003eColeridge-Taylor: Deep River\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eLamothe: La Dangereuse\u003c\/li\u003e\n\u003cli\u003eDett: Juba Dance\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/russell-jamaican-dance-no-2\"\u003eRussell: Jamaican Dance No. 2\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eCheatham: Prelude No. 3\u003c\/li\u003e\n\u003cli\u003eSwanson: The Cuckoo\u003c\/li\u003e\n\u003cli\u003eEuba: Scenes from Traditional Life, No. 1\u003c\/li\u003e\n\u003cli\u003eWheatly: Scherzino\u003c\/li\u003e\n\u003cli\u003eNimble Feet from \u003ca href=\"\/zh\/collections\/price-dances-in-the-canebrakes-1953\"\u003ePrice: Dances in the Canebrakes (1953)\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003eSwanson: Cell Phone Blues\u003c\/li\u003e\n\u003cli\u003eRussell: Papillons\u003c\/li\u003e\n\u003cli\u003eAbdel-Rahim: Variations on an Egyptian Folksong\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":32330445619279,"sku":"9780193868243","price":31.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/8694a0696e9fbca5a87db9439cf6f6a0.jpg?v=1750590166"},{"product_id":"piano-music-of-africa-and-the-african-diaspora-volume-2-oup","title":"Piano Music of Africa and the African Diaspora - Volume 2","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/john-w-work\"\u003eJohn W. Work (1871-1925)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/joshua-uzoigwe\"\u003eJoshua Uzoigwe (1946-2005)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/robert-nathaniel-dett\"\u003eRobert Nathaniel Dett (1882-1943)\u003c\/a\u003e, Laurindo Almeida (1917-1995), Amadeo Gardes (1900-1939), Alain Pierre Pradel (1949-), \u003ca href=\"\/zh\/collections\/wallace-m-cheatham\"\u003eWallace M. Cheatham (1945-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/akin-euba\"\u003eAkin Euba (1935-2020)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/ulysses-kay\"\u003eUlysses Kay (1917-1995)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/eleanor-alberga\"\u003eEleanor Alberga (1949-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/halim-el-dabh\"\u003eHalim El-Dabh (1921-2017)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/joseph-hanson-kwabena-nketia\"\u003eJoseph Hanson Kwabena Nketia (1921-2019)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/christian-onyeji\"\u003eChristian Onyeji\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780193868236\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 64\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/pdf\/13\/9780193868236.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eListen\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cfigure\u003e\u003caudio controls src=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/mp3\/music\/nyaho2_prelude1_joshua.mp3\" type=\"audio\/mpeg\"\u003e\u003c\/audio\u003e\u003c\/figure\u003e \u003cfigure\u003e\u003caudio controls src=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/mp3\/music\/nyaho2_prelude2_poormourner.mp3\" type=\"audio\/mpeg\"\u003e\u003c\/audio\u003e\u003c\/figure\u003e \u003c\/div\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eFrom the influences of the Southern US and the Caribbean to the Igbo people of Africa, this second volume truly represents the music of Africa and its Diaspora. This intermediate-level volume features more jazz and syncopated pieces that are both reflective and dance-like. Performance notes and composer biographies are also provided.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eAlmeida: Lament in Tremelo Form\u003c\/li\u003e\n\u003cli\u003eKay: Invention No. 2\u003c\/li\u003e\n\u003cli\u003eDett: Honey\u003c\/li\u003e\n\u003cli\u003eUzoigwe: Nigerian Dance No. 1\u003c\/li\u003e\n\u003cli\u003eCheatham: Prelude No. 1 (Joshua fit the Battle of Jericho)\u003c\/li\u003e\n\u003cli\u003eCheatham: Prelude No. 2 (Pour Mourner's Got A Home)\u003c\/li\u003e\n\u003cli\u003eOnyeji: Oga\u003c\/li\u003e\n\u003cli\u003eGardes: Preludio Cubano\u003c\/li\u003e\n\u003cli\u003eSilk Hat and Walking Cane from \u003ca href=\"\/zh\/collections\/price-dances-in-the-canebrakes-1953\"\u003ePrice: Dances in the Canebrakes (1953)\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003eWork: At A Certain Church\u003c\/li\u003e\n\u003cli\u003eNketia: Volta Fantasy\u003c\/li\u003e\n\u003cli\u003eEuba: Igbá Kerin - Àwon abàmi Eye\u003c\/li\u003e\n\u003cli\u003eEuba: Igbá Kìnní - Akèrègbè Baba Emu\u003c\/li\u003e\n\u003cli\u003ePradel: Pomme Cannelle\u003c\/li\u003e\n\u003cli\u003eEl-Dabh: Nim Nawakht\u003c\/li\u003e\n\u003cli\u003eAlberga: If the Silver Bird Could Speak\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":32330447978575,"sku":"9780193868236","price":31.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/49b15b89de33b6e601895ef30e272ec1.jpg?v=1751033666"},{"product_id":"piano-music-of-africa-and-the-african-diaspora-volume-1-oup","title":"Piano Music of Africa and the African Diaspora - Volume 1","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, Isak Roux (1959-), \u003ca href=\"\/zh\/collections\/ulysses-kay\"\u003eUlysses Kay (1917-1995)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/nkeiru-okoye\"\u003eNkeiru Okoye (1972-)\u003c\/a\u003e, Robert Mawuena Kwami (1954-2004), \u003ca href=\"\/zh\/collections\/halim-el-dabh\"\u003eHalim El-Dabh (1921-2017)\u003c\/a\u003e, André Bangambula Vindu (1953-), \u003ca href=\"\/zh\/collections\/joseph-hanson-kwabena-nketia\"\u003eJoseph Hanson Kwabena Nketia (1921-2019)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/christian-onyeji\"\u003eChristian Onyeji\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/hale-smith\"\u003eHale Smith (1925-2009)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/valerie-capers\"\u003eValerie Capers (1935-)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: William Chapman Nyaho\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780193868229\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 48\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/pdf\/13\/9780193868229.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThis first volume for advanced beginners offers a wonderful introduction to Ragtime and Jazz as well as syncopation and different articulations. The pieces range from light-hearted pieces like 'Kwela,' the Zulu term for dance, to soulful and spiritual pieces like 'Dusk.' This volume includes performance notes for each piece.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIsak Roux: Kwela No. 1\u003c\/li\u003e\n\u003cli\u003eUlysses Kay: Tender Thought\u003c\/li\u003e\n\u003cli\u003eHale Smith: My Scarf is Yellow\u003c\/li\u003e\n\u003cli\u003eNkeiru Okoye: Dusk\u003c\/li\u003e\n\u003cli\u003eRobert Mawuena Kwami: Piano Piece No. 2, Call and Response\u003c\/li\u003e\n\u003cli\u003eHalik El-Dabh: Soufiane\u003c\/li\u003e\n\u003cli\u003eHale Smith: Off-Beat Shorty\u003c\/li\u003e\n\u003cli\u003eFlorence B. Price: Ticklin' Toes\u003c\/li\u003e\n\u003cli\u003eValerie Capers: Sweet Mister Jelly Roll\u003c\/li\u003e\n\u003cli\u003eNkeiru Okoye: Dancing Barefoot in the Rain\u003c\/li\u003e\n\u003cli\u003eIsak Roux: Lullaby\u003c\/li\u003e\n\u003cli\u003eValerie Capers: The Monk\u003c\/li\u003e\n\u003cli\u003eBangambula Vindu: Lullaby\u003c\/li\u003e\n\u003cli\u003eJ. H. Kwabena Nketia: Builsa Work Song\u003c\/li\u003e\n\u003cli\u003eChristian Onyeji: Ufie III\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eRoux: Kwela No. 1\u003c\/li\u003e\n\u003cli\u003eKay: Tender Thought\u003c\/li\u003e\n\u003cli\u003eH. Smith: My Scarf is Yellow\u003c\/li\u003e\n\u003cli\u003eOkoye: Dusk\u003c\/li\u003e\n\u003cli\u003eKwami: Piano Piece No. 2 (Call and Response)\u003c\/li\u003e\n\u003cli\u003eEl-Dabh: Soufiane\u003c\/li\u003e\n\u003cli\u003eH. Smith: Off-Beat Shorty\u003c\/li\u003e\n\u003cli\u003ePrice: Ticklin' Toes\u003c\/li\u003e\n\u003cli\u003eCapers: Sweet Mister Jelly Roll\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/okoye-dancing-barefoot-in-the-rain\"\u003eOkoye: Dancing Barefoot in the Rain\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eRoux: Lullaby\u003c\/li\u003e\n\u003cli\u003eCapers: The Monk\u003c\/li\u003e\n\u003cli\u003eVindu: Lullaby\u003c\/li\u003e\n\u003cli\u003eNketia: Builsa Work Song\u003c\/li\u003e\n\u003cli\u003eOnyeji: Ufie III\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Oxford University Press","offers":[{"title":"Default Title","offer_id":32330451484751,"sku":"9780193868229","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4743dfc7e62857edf7d0c49490c47f1d.jpg?v=1750599426"},{"product_id":"black-women-composers-piano-music-1893-1990-hildegard","title":"Black Women Composers: Piano Music (1893-1990)","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/zenobia-powell-perry\"\u003eZenobia Powell Perry (1908-2004)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/undine-smith-moore\"\u003eUndine Smith Moore (1904-1989)\u003c\/a\u003e, Estelle Ricketts (1871-), Anna Goodwin (1874-1959), L. Viola Kinney (1890-1945), \u003ca href=\"\/zh\/collections\/amanda-aldridge\"\u003eAmanda Aldridge (1866-1956)\u003c\/a\u003e, Mary Lou Williams (1910-1981), \u003ca href=\"\/zh\/collections\/julia-perry\"\u003eJulia Perry (1924-1979)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/betty-jackson-king\"\u003eBetty Jackson King (1928-1994)\u003c\/a\u003e, Philippa Schuyler (1931-1967), \u003ca href=\"\/zh\/collections\/tania-leon\"\u003eTania León (1943-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/lena-mclin\"\u003eLena McLin (1928-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/valerie-capers\"\u003eValerie Capers (1935-)\u003c\/a\u003e, Regina Harris Baiocchi (1956-), \u003ca href=\"\/zh\/collections\/dorothy-rudd-moore\"\u003eDorothy Rudd Moore (1940-)\u003c\/a\u003e, Joyce Solomon (1946-), Mable Bailey (1939-), \u003ca href=\"\/zh\/collections\/margaret-bonds\"\u003eMargaret Bonds (1913-1972)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eUPC\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e680160101856\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.7\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eRicketts: Rippling Spring Waltz\u003c\/li\u003e\n\u003cli\u003eGoodwin: Cuban Liberty (1897)\u003c\/li\u003e\n\u003cli\u003eKinney: Mother's Sacrifice (1909)\u003c\/li\u003e\n\u003cli\u003ePrayer Before Battle from \u003ca href=\"\/zh\/collections\/a-aldridge-4-moorish-pictures-1927\"\u003eA. Aldridge: 4 Moorish Pictures (1927)\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-fantasie-negre-no-1-in-e-minor-1929\"\u003ePrice: Fantasie nègre No. 1 in E Minor (1929)\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eM.L. Williams: Nite Life (1930)\u003c\/li\u003e\n\u003cli\u003ePerry: Prelude (1962)\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: Before I'd Be a Slave (1953)\u003c\/li\u003e\n\u003cli\u003eKing: Spring Intermezzo (1955)\u003c\/li\u003e\n\u003cli\u003eSchuyler: Fortune Favored the Bold Player (from the White Nile Suites)\u003c\/li\u003e\n\u003cli\u003eLeón: Prelude No. 1: \"Sorpresa\" (\"Surprise\") (1966)\u003c\/li\u003e\n\u003cli\u003eLeón: Prelude No. 2: \"Pecera\" (\"Aquarium\") (1966)\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/bonds-troubled-water\"\u003eBonds: Troubled Water\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eMcLin: A Summer Day (1970)\u003c\/li\u003e\n\u003cli\u003eCapers: Blues for \"The Duke\" (1976)\u003c\/li\u003e\n\u003cli\u003eCapers: A Taste of Bass (1976)\u003c\/li\u003e\n\u003cli\u003eCapers: Billi's Song (1976)\u003c\/li\u003e\n\u003cli\u003eBaiocchi: Etude No. 2 (1979)\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/dr-moore-a-little-whimsy-1982\"\u003eD.R. Moore: A Little Whimsy (1982)\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eSolomon: A Summer Afternoon in South Carolina (Third Movement) (1983)\u003c\/li\u003e\n\u003cli\u003eBailey: Prankster (1986)\u003c\/li\u003e\n\u003cli\u003ePerry: Hommage (To William Levi Dawson) (1990)\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Hildegard Publishing Company","offers":[{"title":"Default Title","offer_id":32362060316751,"sku":"490-01070","price":49.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/9c2c60b0bba39ec8ff47c1d5c872ab7e.jpg?v=1750012330"},{"product_id":"price-piano-sonata-no-1-in-e-minor-schirmer","title":"Price: Piano Sonata No. 1 in E Minor","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Sonata No.1 in E Minor\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780793551309\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 40\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eOne of the first African-American women composers to achieve national recognition. \u003cem\u003eSonata in E Minor\u003c\/em\u003e won First Prize in the 1932 Rodman Wanamaker music contest, the same year Price's \u003cem\u003eSymphony in E Minor\u003c\/em\u003e won overall honors.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32462738358351,"sku":"LB2023","price":12.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/635b6c05e8485868b017cea47b6cfa49.jpg?v=1750593292"},{"product_id":"price-the-deserted-garden-schirmer","title":"Price: The Deserted Garden","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: The Deserted Garden\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32515754065999,"sku":"GSP61167SET","price":25.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/e8c47c8fe9d6d6af3af1d70718a916df.webp?v=1751206163"},{"product_id":"price-summer-moon-schirmer","title":"Price: Summer Moon","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Summer Moon\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eSummer Moon\u003c\/strong\u003e (1938) is one of at least two of Price's compositions associated with the well-known and beloved singer, jazz pianist, and social activist Memry Midgett (1920-2013). A classically trained pianist, Midgett — who apparently studied piano with Price, and for whom Price wrote the beautiful wedding song \"God Gives Me You\" — eventually became a successful jazz pianist and vocalist, performing as one of Billie Holiday's accompanists over a period of eighteen months (1953-54) and performing with Holiday and Count Basie in Carnegie Hall in 1954. She became a beloved figure of the jazz scene of the San Francisco Bay area until an automobile accident in 1965 made a career change necessary — whereupon she pursued and attained a Bachelor's degree in psychology from the University of California, San Francisco, followed by a Master's degree in public health from the University of California, Berkeley. After teaching high school for some time she shifted careers again, rising to the position of Chief Administrator for the Department of Public Health in San Francisco. \u003c\/p\u003e\n\u003cp\u003eAlthough \u003cstrong\u003eSummer Moon\u003c\/strong\u003e , written when Midgett was just seventeen years old, falls early in this career, it is tempting to discover in it something of the dynamic personality that endeared Midgett to audiences and colleagues wherever she went. Outwardly the work is in a conventional ternary form, with framing A sections in D-flat Major and a central B section in B-flat Minor, plus coda; and certainly the deeply songful melodies of the A sections are no stranger to Price's style in general. Yet the richly chromatic harmonic language of Summer Moon, especially the streams of parallel non-functional seventh and ninth chords in mm. 10-11, 23-23, 43-48, 50-52, and elsewhere also evoke the harmonic idioms of jazz — and the pervasive influence of jazz harmonies in the B section is undeniable. in these senses, Summer Moon represents an instance of Price's brilliance in seamlessly integrating the styles of concert and vernacular repertoires to produce a genre-fluid work whose title and motiving imagery — that of the summer moon — continue to evoke the post-Romantic sound-world whose poetic inspiration derived from the individual's reflection on nature. \u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32519519895631,"sku":"GSP60809SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/a307266be4d355ae20e4abac977ee50e.jpg?v=1751206216"},{"product_id":"price-fantasie-no-1-in-g-minor-schirmer","title":"Price: Fantasie No. 1 in G Minor","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Fantasie No.1 in G Minor\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe Fantasie No. 1 in G Minor for violin and piano is the first of Price's two works in that genre. The autograph is dated July 15-16, 1933. This date places it in the chronological vicinity of some of Price's works that are best known today: the First (E-Minor) Fantasie nègre (1929-32)5 and Piano Sonata in E Minor (1932), the First Symphony (1932), the Piano Concerto in D Minor (1932-34). Like all those already well-known compositions, the Violin Fantasy No. 1 reflects Price's remarkable fluency in synthesizing the traditions and idioms of post-Romantic concert music with the melodic and harmonic idioms of African American folksong.The Fantasy begins with a cadenza-like improvisatory passage that covers the entire range of the violin part, from g to g3. The contrapuntally conceived main theme (mm. 13ff.) bears little compelling evidence of African American influence aside from its use of the natural seventh scale degree, but the gapped scales and chord-picking accompaniment of the new, transitional material that abruptly intrudes in B Major, lento, at m. 38 clearly evokes those styles, and that character does not abate with the return of the defining motive of the main theme — still lento — in mm. 56-59.\u003c\/p\u003e\n\u003cp\u003eThe African American influences become clearer still with the exquisitely beautiful B-flat Major theme introduced in m. 61 — structurally and stylistically, the heart of the work. The dialog-like character of the transition back to G Minor (mm. 89-93) may evoke call-and-response textures of traditional Black repertoires, but those influences again disappear — temporarily — with the return to the main theme. The coda may be understood as the moment of reconciliation of the two stylistic worlds inhabited by the earlier material: on the one hand, it clearly derives from the main theme; but at the same time the rhythmic language and gapped scales of the violin part in mm. 101ff. and the character of mm. 118-21 fully integrate African American gestures into the stylistic vocabulary of the work as a whole. Most remarkable of all, despite the Fantasy's cultivation of abrupt shifts and interruptions that give it a decidedly unstudied character, it is in fact a highly structured and symmetrical composition in which the introduction and coda frame a thematic and tonal dialog between G Minor and B-flat Major and the idioms of the cultivated and vernacular traditions.— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32536211849295,"sku":"GSP60479SET","price":25.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2a8893b6771c64e186580ec7b7fe4ea8_f11e19b6-51fe-414a-9695-468f2569c034.jpg?v=1749442873"},{"product_id":"art-songs-and-spirituals-by-african-american-women-composers-hildegard","title":"Art Songs and Spirituals by African-American Women Composers","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/undine-smith-moore\"\u003eUndine Smith Moore (1904-1989)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/margaret-bonds\"\u003eMargaret Bonds (1913-1972)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/julia-perry\"\u003eJulia Perry (1924-1979)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/betty-jackson-king\"\u003eBetty Jackson King (1928-1994)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Vivian Taylor\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eUPC\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e680160104574\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThis is a must-have collection of spirituals and composed works by a variety of African-American composers. No voice teacher should be without this essential resource.\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eKing: Calvary\u003c\/li\u003e\n\u003cli\u003eKing: In the Springtime\u003c\/li\u003e\n\u003cli\u003eKing: It's me, O Lord\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: Watch and Pray\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/us-moore-love-let-the-wind-cryhow-i-adore-thee\"\u003eU.S. Moore: Love Let the Wind Cry...How I Adore Thee\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: I Am in Doubt\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: Is There Anybody Here That Loves My Jesus\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: Come Down Angels\u003c\/li\u003e\n\u003cli\u003ePerry: I'm A Poor Li'l Orphan in This Worl'\u003c\/li\u003e\n\u003cli\u003ePerry: Free At Last\u003c\/li\u003e\n\u003cli\u003eBonds: Dry Bones\u003c\/li\u003e\n\u003cli\u003eBonds: Lord, I Just Can't Keep From Cryin'\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/bonds-the-negro-speaks-of-rivers\"\u003eBonds: The Negro Speaks of Rivers\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/bonds-three-dream-portraits\"\u003eBonds: Three Dream Portraits\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBonds: He's Got the Whole World in His Hands\u003c\/li\u003e\n\u003cli\u003ePrice: My Dream\u003c\/li\u003e\n\u003cli\u003ePrice: Song To The Dark Virgin\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-night\"\u003ePrice: Night\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003ePrice: My Soul's Been Anchored in The Lord\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Hildegard Publishing Company","offers":[{"title":"Default Title","offer_id":32559389048911,"sku":"491-00494","price":39.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2896d444dea8a83dc7f60bac2ea962a7.jpg?v=1750246823"},{"product_id":"price-ten-negro-spirituals-schirmer","title":"Price: Ten Negro Spirituals","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe brilliance of Florence B. Price in integrating Black vernacular styles and melodies into the idioms of Western concert music is by now a matter of record, as is the centrality of ancestral spirituals to the musical thought of this deeply religious composer. The present volume assembles ten of her piano-solo arrangements of spirituals into a single volume for the first time.\u003c\/p\u003e\n\u003cp\u003eThe works presented here are preserved as individual manuscripts; indeed, some have already been published individually. But Price herself collected them into a single brown-paper folder that survives among her papers in the Special Collections division of the University of Arkansas Libraries, Fayetteville. She provided a collective title for the group on the outer front cover of that folder and drafted a sequence for the constituent works on the inner front cover. The outer front cover originally read \"FOUR NEGRO SPIRITUALS \/ arr. for Piano \/ Florence B. Price,\" but at some point FOUR was lined out in fuchsia pencil. The inner front cover includes the titles of the first eight spirituals presented here in the order that this volume presents them, and the folder also includes the arrangements of \"Were You There When They Crucified My Lord\" and \"Lord, I Want to Be a Christian\" given here as Appendices A and B. The reasons for the latter's exclusion from the title inventory are unclear, but Price obviously did not include \"Were You There When They Crucified My Lord\" because it was published separately by Oxford University Press (1942). (That manuscript is crossed out and bears the autograph pencil annotation \"contracted to,\" without specifying the contract recipient.)\u003c\/p\u003e\n\u003cp\u003eDespite their common roots in Price's African American heritage, the arrangements brought together here vary appreciably in style in tone — from the joy and uplift of the Underground Railroad songs \"Let Us Cheer the Weary Traveler,\" \"Peter, Go Ring dem Bells,\" and \"Swing Low, Sweet Chariot,\" through the somber sorrow of \"I'm Troubled in My Mind,\" the religious melancholy of \"I Want Jesus to Walk with Me,\" and the urgency of \"Joshua Fit de Battle of Jericho,\" to the jubilant piety of \"I Know the Lord Has Laid His Hands on Me,\" \"Gimme That Old Time Religion,\" and \"Lord, I Want to Be a Christian.\" The arrangements are all accessible to amateur pianists, and all suitable for private, home musicmaking. Most importantly, all are obviously deeply felt — personalized readings of well-known tunes that offer a lens into Priceäó»s own personal faith.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eLet Us Cheer the Weary Traveler\u003c\/li\u003e\n\u003cli\u003eIm Troubled in My Mind\u003c\/li\u003e\n\u003cli\u003eI Know the Lord Has Laid His Hands on Me\u003c\/li\u003e\n\u003cli\u003eJoshua Fit de Battle of Jericho\u003c\/li\u003e\n\u003cli\u003eGimme That Old Time Religion\u003c\/li\u003e\n\u003cli\u003eSwing Low, Sweet Chariot\u003c\/li\u003e\n\u003cli\u003eI Want Jesus to Walk with Me\u003c\/li\u003e\n\u003cli\u003ePeter, Go Ring dem Bells\u003c\/li\u003e\n\u003cli\u003eWere You There When They Crucified My Lord\u003c\/li\u003e\n\u003cli\u003eLord, I Want to Be a Christian\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32644783046735,"sku":"GSP61103SCO","price":50.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/66405ee4e53e3871454503d8324d4991.jpg?v=1750450343"},{"product_id":"price-sketches-in-sepia-schirmer","title":"Price: Sketches in Sepia","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-sketches-in-sepia\"\u003eSketches in Sepia\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.7\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposed in September, 1947, Sketches in Sepia typifies Price's ability to compress intense and wide-ranging emotional and stylistic journeys into compact, tautly organized structures. Outwardly, the work might seem routine: it is just sixty-four bars long and organized in a clear ternary form, with the outer sections firmly rooted in A-flat Major and the central section beginning and ending in F Minor.\u003c\/p\u003e\n\u003cp\u003eBut its musical content and emotional and stylistic range are anything but routine. The A sections are relaxed and lyrical, while the central B section is rhythmically animated and stylistically agitated, beginning mf and eventually reaching an abrupt ff climax as a half-diminished seventh chord based on D natural (vii of the dominant of the home key of A-flat) gradually assumes predominance amid powerful left-hand octaves, increasingly syncopated rhythms punctuated with abrupt rests, and an expansion of the initially narrow range to a significantly broader one encompassing the entire gamut from F' to f''''.\u003c\/p\u003e\n\u003cp\u003eThese two contrasting sections presumably account for the titular plural (sketches). But despite the pronounced contrasts between the two sections, there are also deeper connections: the insistence on F as added sixth in the harmonic language of the A theme, beginning in m. 1, prepares that tone's importance as the defining pitch of the B section: F is always present from the outset, even before it becomes the central key. Similarly, the blue thirds that emerge in mm. 10 and 13 anticipate the jazz influences and harmonic language of the B section — which, because of these connections, never quite leaves the Sketches even after the A section returns.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":32761806356559,"sku":"GSP60732SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/45718d2bfd924b036e06abe092059895.jpg?v=1749560821"},{"product_id":"price-string-quartet-no-2-in-a-minor-schirmer","title":"Price: String Quartet No. 2 in A Minor","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Quartet (Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: String Quartet No. 2 in A Minor\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe A-Minor string quartet is Florence Price's second contribution to the genre. It was preceded by her G-Major quartet (1929) and followed by her Five Folksongs in Counterpoint for string quartet (1951). Stylistically, the melodic and harmonic language of A-Minor quartet more obviously invokes midtwentieth-century idioms than does either of the other quartets.\u003c\/p\u003e\n\u003cp\u003eThe first movement begins with a quiet, brooding ostinato whose combination of a pedal point with a narrow, chromatically descending and ascending motive strongly contrasts with both the extensive chromaticism of the transition and the warm lyricism of the second subject — a theme whose evocative blue thirds directly bespeak Price's African American heritage. This movement seems to be driven by the tension between the narrow constraints of its opening ostinato and the melodic breadth of its main subjects — a tension that finally breaks free into a tempestuous coda that is a testament to Price's sure-fire dramatic pacing. That emotional drama gives way to a gentle, rocking lyricism of the second movement — likewise infused with melodic and harmonic turns that bring the melancholy beauty of Black idioms into the tradition-bound stylistic vocabulary of the midtwentieth-century string quartet.\u003c\/p\u003e\n\u003cp\u003eThe second movement, too, employs extensive dissonances that are more a part of the modernist idioms of the early twentieth century than they are of traditional African American culture. The main theme of the third movement is in the style of a Juba dance or hambone, a patently African lively dance that involved body-slapping, foot-stomping, and hand-clapping; this section frames a more relaxed allegretto that is likewise based on African American dance idioms. The last movement puts Price's advanced harmonic technique on display in a rondo form of remarkable emotional breadth — a variety further emphasized by the searching, quasi-improvisatory Andantino featuring the solo viola, violin, and cello in mm. 120-35 and recast, abbreviated, as an interruption including the entire ensemble in mm. 187-92.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":39422969118799,"sku":"GSP60412SET","price":100.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/412230a1875400734c3ef946ac35a45f.jpg?v=1750689101"},{"product_id":"the-oxford-book-of-choral-music-by-black-composers-oup","title":"The Oxford Book of Choral Music by Black Composers","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposers\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/charles-d-coleman\"\u003eCharles D. Coleman (1929-1991)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/adolphus-hailstork\"\u003eAdolphus Hailstork (1941-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/robert-nathaniel-dett\"\u003eRobert Nathaniel Dett (1882-1943)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/undine-smith-moore\"\u003eUndine Smith Moore (1904-1989)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/julia-perry\"\u003eJulia Perry (1924-1979)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/betty-jackson-king\"\u003eBetty Jackson King (1928-1994)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/lena-mclin\"\u003eLena McLin (1928-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/dorothy-rudd-moore\"\u003eDorothy Rudd Moore (1940-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/marques-l-a-garrett\"\u003eMarques L. A. Garrett\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/be-boykin\"\u003eB.E. Boykin\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/chisolm-brown\"\u003eChisolm Brown\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/ken-burton\"\u003eKen Burton (1970-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/nathan-carter\"\u003eNathan Carter\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/james-furman\"\u003eJames Furman\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/jose-mauricio-nunes-garcia\"\u003eJosé Maurício Nunes Garcia\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/damien-geter\"\u003eDamien Geter (1980-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/chrstopher-h-harris\"\u003eChrstopher H. Harris\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/robert-a-harris\"\u003eRobert A. Harris (1938-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/david-hurd\"\u003eDavid Hurd (1950-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/vicente-lusitano\"\u003eVicente Lusitano\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/edward-margetson\"\u003eEdward Margetson\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/carlos-simon\"\u003eCarlos Simon (1986-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/zanaida-stewart-robles\"\u003eZanaida Stewart Robles (1979-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/trevor-weston\"\u003eTrevor Weston (1967-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/john-w-work-iii\"\u003eJohn W. Work III (1901-1967)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/reginal-wright\"\u003eReginal Wright\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/ulysses-kay\"\u003eUlysses Kay (1917-1995)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/h-leslie-adams\"\u003eH. Leslie Adams (1932-)\u003c\/a\u003e, \u003ca href=\"\/zh\/collections\/samuel-coleridge-taylor\"\u003eSamuel Coleridge-Taylor (1875-1912)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/marques-l-a-garrett\"\u003eMarques L. A. Garrett\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003eSATB Choir, Organ (or Piano)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan, Piano, SATB Choir, Soprano, Orchestra, Alto, Female Choir, Organ (or Piano)\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780193561007\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e6.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e10.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/fdslive.oup.com\/www.oup.com\/academic\/pdf\/13\/9780193561007.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eThe Oxford Book of Choral Music by Black Composers\u003c\/em\u003e is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHosanna to the Son of David, \u003cem\u003eAdams\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eMusic of Life, \u003cem\u003eBoykin\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eO praise the Lord, \u003cem\u003eBrown\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eBurton, \u003cem\u003eBurton\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eDona nobis pacem, \u003cem\u003eButler\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003ePsalm 131, \u003cem\u003eCarter\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe 100th Psalm, \u003cem\u003eColeman\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eBy the lone seashore, \u003cem\u003eColeridge-Taylor\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Lord is my strength, \u003cem\u003eColeridge-Taylor\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eSon of Mary, \u003cem\u003eDett\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eFour Little Foxes, \u003cem\u003eFurman\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eAve maris stella, \u003cem\u003eGarcia\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eAlleluia, angelus Domini, \u003cem\u003eGarcia\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eMy heart be brave, \u003cem\u003eGarrett\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe Gift to Sing, \u003cem\u003eGeter\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eGod be merciful, \u003cem\u003eHailstork\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eBring me all your dreams, \u003cem\u003eHarris, C. H.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eApril Rain Song, \u003cem\u003eHarris, R. A.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eOh, how can I keep from singing?, \u003cem\u003eHarris, R. A.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eEcce sacerdos magnus, \u003cem\u003eHurd\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eAs Joseph was a-walking, \u003cem\u003eKay\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eHow stands the glass around?, \u003cem\u003eKay\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003ePsalm 57, \u003cem\u003eKing\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eEmendemus in melius, \u003cem\u003eLusitano\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eA few more years shall roll, \u003cem\u003eMargetson\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eSee what love, \u003cem\u003eMcLin\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003ein Celebration, \u003cem\u003eMoore, D. R.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eI, too, \u003cem\u003eMoore, U. S.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eSong of our Savior, \u003cem\u003ePerry\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eResignation, \u003cem\u003ePrice\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eMagnificat, \u003cem\u003eRobles\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eSanctus, \u003cem\u003eSimon\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eRivers of Living Water, \u003cem\u003eWeston\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eThe sun himself shall fade, \u003cem\u003eWork\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eWe are the music makers, \u003cem\u003eWright\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eH.L. Adams: Hosanna to the Son of David\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/boykin-music-of-life\"\u003eBoykin: Music of Life\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eBrown: O Praise the Lord\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/burton-a-prayer\"\u003eBurton: A Prayer\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eC.D. Coleman: The 100th Psalm\u003c\/li\u003e\n\u003cli\u003eCarter: Psalm 131\u003c\/li\u003e\n\u003cli\u003eColeridge-Taylor: By the lone seashore\u003c\/li\u003e\n\u003cli\u003eColeridge-Taylor: The Lord is my strength\u003c\/li\u003e\n\u003cli\u003eDett: Son of Mary\u003c\/li\u003e\n\u003cli\u003eFurman: Four Little Foxes\u003c\/li\u003e\n\u003cli\u003eGarcia: Ave maris stella\u003c\/li\u003e\n\u003cli\u003eGarcia: Alleluia, angelus Domini\u003c\/li\u003e\n\u003cli\u003eGarrett: My heart be brave\u003c\/li\u003e\n\u003cli\u003eGeter: The Gift to Sing\u003c\/li\u003e\n\u003cli\u003eHailstork: God be merciful\u003c\/li\u003e\n\u003cli\u003eHarris: Bring me all your dreams\u003c\/li\u003e\n\u003cli\u003eHarris: April Rain Song (SSATB)\u003c\/li\u003e\n\u003cli\u003eHarris: Oh, how can I keep from singing?\u003c\/li\u003e\n\u003cli\u003eHurd: Ecce sacerdos magnus\u003c\/li\u003e\n\u003cli\u003eKay: As Joseph was a-walking\u003c\/li\u003e\n\u003cli\u003eKay: How stands the glass around? (SSATB)\u003c\/li\u003e\n\u003cli\u003eKing: Psalm 57\u003c\/li\u003e\n\u003cli\u003eLusitano: Emendemus in melius (SAATB)\u003c\/li\u003e\n\u003cli\u003eMargetson: A few more years shall roll\u003c\/li\u003e\n\u003cli\u003eD.R. Moore: In Celebration\u003c\/li\u003e\n\u003cli\u003eU.S. Moore: I, too\u003c\/li\u003e\n\u003cli\u003eMcLin: See what love\u003c\/li\u003e\n\u003cli\u003ePerry: Song of our Saviour\u003c\/li\u003e\n\u003cli\u003ePrice: Resignation\u003c\/li\u003e\n\u003cli\u003eSimon: Sanctus\u003c\/li\u003e\n\u003cli\u003eRobles: Magnificat\u003c\/li\u003e\n\u003cli\u003eWeston: Rivers of Living Water\u003c\/li\u003e\n\u003cli\u003eWork III: The sun himself shall fade\u003c\/li\u003e\n\u003cli\u003eWright: We are the music makers\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Oxford University Press","offers":[{"title":"Paperback","offer_id":40552073035855,"sku":"9780193561007","price":34.5,"currency_code":"USD","in_stock":true},{"title":"Spiral Bound","offer_id":40554789896271,"sku":"9780193561014","price":42.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/14a4235ce47a6d9112976d6346841c7e.jpg?v=1752096254"},{"product_id":"price-clouds-schirmer","title":"Price: Clouds","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: John Michael Cooper\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-clouds\"\u003eClouds\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eClouds\u003c\/em\u003e stands as one of the most important of Price's hitherto unpublished works for piano solo — and in some ways one of her most problematic. Its importance derives partly from its scale — its length is comparable to that of the extant \u003cem\u003eFantasies nègres\u003c\/em\u003e — and partly from the richness of its musical material. Although the work as a whole is unified by the recurrent scalar descent from dominant to tonic, and its associated rhythm, stated at the outset (mm. 1, 27ff., and elsewhere), its stylistic allusions range from a tender meditative style familiar to Price enthusiasts from works such as \u003cem\u003eMemory Mist\u003c\/em\u003e and \u003cem\u003eSketches in Sepia\u003c\/em\u003e through intense lyricism reminiscent of the music of Clara and Robert Schumann (mm. 27-36) and turbulent Minor-mode chromaticism evocative of Rachmaninoff or Scriabin (mm. 51-60), to postimpressionist idioms that recall Debussy and Ravel. with characteristically clever resourcefulness, Price uses the inherent instability of the post-tonal materials as transitions between tonally stable plateaus.\u003c\/p\u003e\n\u003cp\u003eThe importance of \u003cem\u003eClouds\u003c\/em\u003e also derives from its engagement with the very freedom of expression that was crucial to mid-twentieth-century music generally, and to societal identity for African Americans and women in particular. Not only does this work bring together in a single coherent composition stylistic idioms that are rarely found together in a single piece, but it does so under the descriptive moniker of clouds, which in literature, poetry, and African American art in particular are one of the most potent and ubiquitous symbols of freedom — freedom of movement, freedom of shape and form, freedom of mood, freedom from virtually every restriction that binds humans and other objects. By integrating disparate musical styles, none of which bows to the prejudicial restrictions that Price's world would have placed upon her because of her race and her sex, under a title so powerfully evocative of freedom, Price in \u003cem\u003eClouds\u003c\/em\u003e asserts her ability to resist — to refuse to let her mind be segregated, her imagination stilled, her genius bowed by others' expectations. — John Michael Cooper\u003c\/p\u003e\n\u003cp\u003e11 pages\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40677065523279,"sku":"GSP60729SCO","price":25.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/14dcf220fbaae1519a4e9bb7703138f4.jpg?v=1759422199"},{"product_id":"price-meditation-schirmer","title":"Price: Meditation","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: John Michael Cooper\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Meditation\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.2\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40705039564879,"sku":"GSP60730SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/1c8f95206eac38c5708b8b0c2bf229ef.jpg?v=1752439282"},{"product_id":"price-fantasy-no-2-in-f-sharp-minor-schirmer","title":"Price: Fantasy No. 2 in F-sharp Minor","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: John Michael Cooper\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Fantasy No. 2 in F-sharp Minor\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eComposed in March 1940, Price's in F-sharp Minor Violin Fantasy postdates her G-Minor Fantasie by about seven years and represents an appreciably different stage in her professional life. While the earlier work is contemporaneous with many of the compositions that established Price's presence as a Major figure in the landscape of U.S. music --- works such as the First Symphony, the D-Minor Piano Concerto, the first Fantasie nègre, and the Piano Sonata --- by the time of the F-sharp-Minor Fantasy her presence on that stage and her leadership for African American and other musicians were well established. She had been prominent in the National Association of Negro Musicians since the mid-1930s, was the first Black member of the Chicago Club of Women Organists and the Musicians Club of Women in Chicago, and the first Black woman in the Illinois Federation of Music Clubs. The year 1940 would also see the premiere of her Third Symphony, as well as her induction, just weeks before the composition of the F-sharp-Minor Fantasy, into the American Society of Composers, Authors, and Publishers (ASCAP).\u003c\/p\u003e\n\u003cp\u003eThose changed professional circumstances likely account for the stylistic distance between the G-Minor and F-sharp-Minor Fantasies. Both exemplify Price's genius for integrating techniques and harmonic idioms of the European concert fantasy into the melodic styles and phraseology of African American folksong and spiritual, and both feature a lengthy slow introduction, but beyond this the similarities are few.\u003c\/p\u003e\n\u003cp\u003eThe differences also extend to the two works' handling of their respective sources, for while the First Fantasy evoked the idioms of African American folksong and spiritual only in general terms, the Second Fantasy's subtitle states that the work is \"based on a folk melody,\" otherwise unidentified in this manuscript. Comparing Price's work with other published collections of African American songs and spirituals, the main theme bears a resemblance \"Talk about a Child That Do Love Jesus\" (or \"Talkin' 'bout a Child That Do Love Jesus\"), also known as \"Here's One,\" especially as it was arranged by William Levi Dawson (1899-1990). However, the corpus of other Price papers clearly reveals that the tune was the one that she set as \"I'm Workin' on My Buildin'.\" Price's version of this tune does not concur with any other published version, but one of the autographs specifies that her version was written \"as sung to Fannie Carter Wood of Chicago \/ by her grandmother Malinda Carter \/ a former slave of Memphis Tennessee.\"\u003c\/p\u003e\n\u003cp\u003eThis circumstantial and musical connection to a slave song which Price had heard performed by the granddaughter of a former slave not only provides --- significantly --- the only known documentation of \"I'm Workin' on My Buildin'\" in this form, but also might explain the deep pathos of the introduction to Price's F-sharp Minor Fantasy and its stylistic allusion to the introduction to Dawson's arrangement of \"Talk about a Child that Do Love Jesus.\" for example, Dawson's song sets the tone for the vocal line's spiritual intensity by means of a brief chromaticized descent spanning an octave in the right hand, and Price's Fantasy adopts a similar strategy in the Fantasy's introduction --- but Price is in no hurry to get to the next section of the work. Instead, she amplifies the strategy. Her Fantasy's introduction spans sixteen bars and traces the chromaticized descent F-sharp -- E-sharp -- E -- D-sharp -- (C-sharp) -- B -- A -- G-sharp -- F-sharp -- E in the right hand even as the last few notes of that descent begin an angular ascent back up to the upper dominant, C-sharp; additionally, the complex chromaticism and ambivalence of the thirds and sixths in Price's Fantasy suggest the influence of the blues. Not until mm. 10-12 does a foreshadowing of the motive that will become the third phrase of the tune on which the Fantasy is based occur. The first two phrases derived from the folk melody appear in the violin solo in mm. 17-32 but are interrupted in mm. 33-47, and the tune is completed in mm. 48-55. The central portion of the work is centered on D Major (although that key is described and suggested more than it is actually stated, due to the richness of Price's harmonic language) and a return of the initial motive from the main theme in mm. 101-104 ultimately returns the piece to the tonic F-sharp Minor. The closing is further derived from the main theme (mm. 105-110 are based on mm. 17-32, mm. 111-19 on mm. 48-55, and so on), but now the persistent fortissimo dynamic level and the unrelenting turbulence of the cascading doubled eighth notes in the violin line transform the gentle melancholy of the opening to an air of fiery urgency --- a dramatic closing to a work fueled by the tension between vernacular and cultivated idioms.\u003c\/p\u003e\n\u003cp\u003e--- John Michael Cooper Additional Info Composer Florence Price Publisher G Schirmer Inc Arrangement Violin\/Piano Accompaniment (VLN\/PFA) Format Score and Parts Genre 20th Century\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40705047887951,"sku":"GSP60889SET","price":42.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2c8870441410cdc761a978ef7becb879_08e04fcd-d57d-4c76-a387-7b0c792acfdc.jpg?v=1749743304"},{"product_id":"price-on-a-summers-eve-schirmer","title":"Price: On a Summer's Eve","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: John Michael Cooper\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: On Summer's Eve (1939)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eOn a Summer's Eve was composed on 15 June 1939. By this point in her career, Price seems to have been especially interested in integrating modernist and traditional styles in her music, from the Third Symphony and First Violin Concerto to piano character pieces such as Clouds and Village Scenes. The work's dark key signature of in G-flat Major is further darkened by lowered thirds and sixths throughout, and this work, like sections of Clouds and Village Scenes, includes important digressions into post-tonal and impressionist idioms. The result is a musical exploration of a setting unabashedly free and adventurous in melody, harmony, and form.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40705049460815,"sku":"GSP61113SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4ec6ddb393d7e6905dd71d54a4cef698.jpg?v=1770403078"},{"product_id":"price-piano-quintet-no-2-schirmer","title":"Price: Piano Quintet No. 2","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano Quintet (Piano, Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Piano Quintet No. 2 in A Minor (1952)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40715741823055,"sku":"GSP63537SET","price":100.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/e35abfa430b5d08563314a51c56340e6.jpg?v=1751725643"},{"product_id":"price-44-art-songs-and-spirituals-cvr","title":"Price: 44 Art Songs and Spirituals","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Richard Heard\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano, High \/ Medium Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: Spiral Bound\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e10.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eContents:\u003c\/p\u003e\n\u003cp\u003eA White Rose (John Boyle O'Reilly)\u003c\/p\u003e\n\u003cp\u003eAn April Day (Joseph Cotter)\u003c\/p\u003e\n\u003cp\u003eBecause (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eBeside the Sea (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eBewilderment (Langston Hughes)\u003c\/p\u003e\n\u003cp\u003eDawn's Awakening (James Joseph Burke)\u003c\/p\u003e\n\u003cp\u003eDeath's Gwineter Lay His Cold Icy Hand on Me (Spiritual)\u003c\/p\u003e\n\u003cp\u003eFeet o' Jesus (Langston Hughes)\u003c\/p\u003e\n\u003cp\u003eFour Encore Songs: Tobacco (Graham Lee Hemminger) ; A Flea and a Fly (Anonymous) ; \"Come, come,\" said Tom's Father (Thomas Moore) ; Song of the Open Road (Ogden Nash)\u003c\/p\u003e\n\u003cp\u003eGo Down, Moses (Spiritual)\u003c\/p\u003e\n\u003cp\u003eGod Gives Me You (Nora Connelly)\u003c\/p\u003e\n\u003cp\u003eHold Fast to Dreams (Langston Hughes)\u003c\/p\u003e\n\u003cp\u003eI Grew a Rose (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eI'm Goin' to Lay Down My Heavy Load (Spiritual)\u003c\/p\u003e\n\u003cp\u003eLove-in-a-mist (Mary Rolofson Gamble)\u003c\/p\u003e\n\u003cp\u003eMy Little Soul's Goin' to Shine (Spiritual)\u003c\/p\u003e\n\u003cp\u003eMy Neighbor (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eMy Soul's Been Anchored in de Lord (Spiritual)\u003c\/p\u003e\n\u003cp\u003eNight (Louise C. Wallace)\u003c\/p\u003e\n\u003cp\u003eOut of the South Blew a Wind (Fannie Carter Woods)\u003c\/p\u003e\n\u003cp\u003eResignation (Florence B. Price)\u003c\/p\u003e\n\u003cp\u003eRise Mourner (Spiritual)\u003c\/p\u003e\n\u003cp\u003eSave Me Lord, Save Me (Spiritual)\u003c\/p\u003e\n\u003cp\u003eSome o' These Days (Spiritual)\u003c\/p\u003e\n\u003cp\u003eSong to the Dark Virgin (Langston Hughes)\u003c\/p\u003e\n\u003cp\u003eSunset (Odessa P. Elder)\u003c\/p\u003e\n\u003cp\u003eSympathy (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eThe Glory of the Day Was in Her Face (James Weldon Johnson)\u003c\/p\u003e\n\u003cp\u003eThe Moon Bridge (Mary Rolofson Gamble)\u003c\/p\u003e\n\u003cp\u003eThe Poet and His Song (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eThe Washerwoman (Otto Leland Bohanan)\u003c\/p\u003e\n\u003cp\u003eTo My Little Son (Julia Johnson Davis)\u003c\/p\u003e\n\u003cp\u003eTravel's End (Mary Folwell Hoisington)\u003c\/p\u003e\n\u003cp\u003eTrouble Done Come My Way (Florence B. Price)\u003c\/p\u003e\n\u003cp\u003eTwo Traditional Negro Spirituals : I am Bound for the Kingdom ; I'm Workin' on My Buildin'\u003c\/p\u003e\n\u003cp\u003eWe Have Tomorrow (Langston Hughes)\u003c\/p\u003e\n\u003cp\u003eWeary Traveler (Spiritual)\u003c\/p\u003e\n\u003cp\u003eWhat's the Use (Paul Laurence Dunbar)\u003c\/p\u003e\n\u003cp\u003eWords for a Spiritual (\"Capricorn\")\u003c\/p\u003e\n\u003cp\u003eYou Won't Find a Man Like Jesus (Spiritual)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Classical Vocal Reprints","offers":[{"title":"Default Title","offer_id":40897573191759,"sku":"CN87","price":55.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ea8dea52dd963584186574ac07f2f831.jpg?v=1749561765"},{"product_id":"price-adoration-schirmer","title":"Price: Adoration","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-adoration\"\u003eAdoration\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40969427419215,"sku":"GSP58897SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/d83238ac32de09e815c93a29a85b8723.jpg?v=1751729195"},{"product_id":"price-five-folksongs-in-counterpoint-schirmer","title":"Price: Five Folksongs in Counterpoint","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Quartet (Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Five Folksongs in Counterpoint\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eComposer Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNo. 1 is based upon the Negro spiritual \"Calvary.\" (Southern USA)\u003c\/p\u003e\n\u003cp\u003eNo. 2 is based upon \"Clementine,\" a ballad which became a favorite during the Reconciliation period. It was popular in San Francisco, California near the end of the 19th century and is often sung now-a-days by college and community groups.\u003c\/p\u003e\n\u003cp\u003eNo. 3 \"Drink To Me Only with Thine Eyes\" was sung by settlers on the Eastern coast of America before the days of the American Revolution…the words of which were written by Ben Johnson in 1616 and sung to a tune of unknown origin as early as 1770, included in this group is now regarded as a folk song, and is authoritatively included in published volumes of folk songs.\u003c\/p\u003e\n\u003cp\u003eNo. 4 Several folk songs\u003c\/p\u003e\n\u003cp\u003eNo. 5 \"Swing Low Sweet Chariot.\" Well-known and one of the best-loved of American Negro folk tunes.\u003c\/p\u003e\n\u003cp\u003e— Florence B. Price\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40971135877199,"sku":"GSP58898SET","price":83.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/1cd24eae6787230f2a46df0f91aaf1b1.webp?v=1765925219"},{"product_id":"price-negro-folk-songs-in-counterpoint-schirmer","title":"Price: Negro Folk Songs in Counterpoint","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Quartet (Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Negro Folk Songs in Counterpoint\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eMovements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGo Down, Moses\u003c\/li\u003e\n\u003cli\u003eSomebody's Knockin' At Yo' Do'\u003c\/li\u003e\n\u003cli\u003eLittle David, Play On Yo' Harp\u003c\/li\u003e\n\u003cli\u003eJoshua Fit de Battle ob Jericho\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40971135975503,"sku":"GSP62723SET","price":58.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/4a435729e0b8f2a87248b8677b004494.jpg?v=1750009534"},{"product_id":"price-snapshots-schirmer","title":"Price: Snapshots","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Snapshots\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eMovements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eI. Lake Mirror (October 13, 1952)\u003c\/p\u003e\n\u003cp\u003eII. Moon behind a Cloud\u003c\/p\u003e\n\u003cp\u003eIII. Flame\u003c\/p\u003e\n\u003cp\u003eComposed between 1947 and 1952, \u003cem\u003eSnapshots\u003c\/em\u003e is one of Price's most expansive piano works, and her most persistently modernist. The first movement, \"Lake Mirror\" — apparently the last-conceived of the set — is the one most obviously indebted to the post-Romantic notions of beauty and form familiar from much of Price's other output, but its overall approach is decidedly impressionistic, and some passages are post-tonal. The same aesthetic of impressionistic beauty governs \"Moon behind a Cloud,\" whose alternation of clearly triadic, tonal materials with whole-tone and other post-tonal ones recalls that of \u003cem\u003eClouds\u003c\/em\u003e. and while that stereotypically impressionist notion of capturing an image or moment in tones is also present in the concluding movement, \"Flame,\" that movement dispenses entirely with the first two movements' tranquil and occasionally mysterious beauty. Instead, \"Flame\" is relentlessly dissonant, fueled by a conspicuously virtuosic urgency. The three movements' overall stylistic and emotional progression reveals one of the other most strikingly modernist features of \u003cem\u003eSnapshots\u003c\/em\u003e. for while the familiar Romantic and post-Romantic paradigm would begin with the air of dissonance, crisis, and strife and progress from there to some sort of stylistic reconciliation or resolution, \u003cem\u003eSnapshots\u003c\/em\u003e does the opposite. It begins with an aura of calm and moves from there to a burning and pervasively tumultuous conclusion — indeed, even the final chords, though nominally in the parallel Major of the movement's starting key, contain a dissonant ninth. The result is that \u003cem\u003eSnapshots\u003c\/em\u003e not only celebrates Price's own compositional modernism, but also subverts virtually every expectation of conventional post-Romantic style. and this — in a racist and sexist world that resolutely turned a blind eye to, or forcefully resisted, any attempt from women and people of color to challenge the norms of the White-dominated musical patriarchy — was a gesture as bold as it was brilliant.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":40971136532559,"sku":"GSP61043SCO","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/563993f6f597f8c2d03d111a9caa50a2.jpg?v=1751731660"},{"product_id":"price-string-quartet-in-g-major-clarnan","title":"Price: String Quartet No. 1 in G Major","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Score \u0026amp; Set of Parts\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eString Quartet (Violin I, Violin II, Viola, Cello)\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: String Quartet No. 1 in G Major (1929)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.2\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":40982156410959,"sku":"CN104","price":45.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/393497e21b589e328dbb1b26e6a415f2.jpg?v=1749678882"},{"product_id":"price-an-album-of-piano-pieces-cvr","title":"Price: An Album of Piano Pieces","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Barbara Garvey Jackson\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cul\u003e\n\u003cli\u003eAfrican Drums\u003c\/li\u003e\n\u003cli\u003eA Hillside\u003c\/li\u003e\n\u003cli\u003eBayou Dance\u003c\/li\u003e\n\u003cli\u003eCabin Capers\u003c\/li\u003e\n\u003cli\u003eDark Pool\u003c\/li\u003e\n\u003cli\u003eFlame\u003c\/li\u003e\n\u003cli\u003eHoneysuckle\u003c\/li\u003e\n\u003cli\u003eHoneysuckle at Dusk\u003c\/li\u003e\n\u003cli\u003eJig Jog\u003c\/li\u003e\n\u003cli\u003eLittle Melody in E-flat\u003c\/li\u003e\n\u003cli\u003eMemory Mist\u003c\/li\u003e\n\u003cli\u003eOn A Summer's Eve\u003c\/li\u003e\n\u003cli\u003ePlacid Lake\u003c\/li\u003e\n\u003cli\u003ePopcorn\u003c\/li\u003e\n\u003cli\u003eRainbow Waltz\u003c\/li\u003e\n\u003cli\u003eReverie\u003c\/li\u003e\n\u003cli\u003eRocking Chair\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eAfrican Drums\u003c\/li\u003e\n\u003cli\u003eA Hillside\u003c\/li\u003e\n\u003cli\u003eBayou Dance\u003c\/li\u003e\n\u003cli\u003eCabin Capers\u003c\/li\u003e\n\u003cli\u003eDark Pool\u003c\/li\u003e\n\u003cli\u003eFlame\u003c\/li\u003e\n\u003cli\u003eHoneysuckle\u003c\/li\u003e\n\u003cli\u003eHoneysuckle at Dusk\u003c\/li\u003e\n\u003cli\u003eJig Jog\u003c\/li\u003e\n\u003cli\u003eLittle Melody in E-flat\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-memory-mist\"\u003eMemory Mist\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eOn a Summer's Eve\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-placid-lake\"\u003ePlacid Lake\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-popcorn\"\u003ePopcorn\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eRainbow Waltz\u003c\/li\u003e\n\u003cli\u003eReverie\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-rocking-chair\"\u003eRocking Chair\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Classical Vocal Reprints","offers":[{"title":"Default Title","offer_id":41014255157327,"sku":"CN101","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/343785c17ffc88834255f1922d2bac9e.jpg?v=1749583349"},{"product_id":"price-a-second-album-of-piano-pieces-cvr","title":"Price: A Second Album of Piano Pieces","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Barbara Garvey Jackson\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003col\u003e\n\u003cli\u003eA Southern Sky\u003c\/li\u003e\n\u003cli\u003eAndante\u003c\/li\u003e\n\u003cli\u003eBreezes\u003c\/li\u003e\n\u003cli\u003eClouds\u003c\/li\u003e\n\u003cli\u003eCoquette\u003c\/li\u003e\n\u003cli\u003eDown a Southern Lane\u003c\/li\u003e\n\u003cli\u003eDragon Flies\u003c\/li\u003e\n\u003cli\u003eDream Boat\u003c\/li\u003e\n\u003cli\u003eSong Without Words (or Pleading)\u003c\/li\u003e\n\u003cli\u003eSong Without Words\u003c\/li\u003e\n\u003cli\u003eSwinging on a Grape Vine\u003c\/li\u003e\n\u003cli\u003eTree Boughts\u003c\/li\u003e\n\u003cli\u003eWalts of the Spring Maid\u003c\/li\u003e\n\u003cli\u003eWhirlaway Waltz\u003c\/li\u003e\n\u003c\/ol\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eA Southern Sky\u003c\/li\u003e\n\u003cli\u003eAndante\u003c\/li\u003e\n\u003cli\u003eBreezes\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-clouds\"\u003eClouds\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eCoquette\u003c\/li\u003e\n\u003cli\u003eDown a Southern Lane\u003c\/li\u003e\n\u003cli\u003eDragon Flies\u003c\/li\u003e\n\u003cli\u003eDream Boat\u003c\/li\u003e\n\u003cli\u003eSong Without Words (or Pleading)\u003c\/li\u003e\n\u003cli\u003eSong Without Words\u003c\/li\u003e\n\u003cli\u003eSwinging on a Grape Vine\u003c\/li\u003e\n\u003cli\u003eTree Boughs\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-waltz-of-the-spring-maid\"\u003eWaltz of the Spring Maid\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003eWhirlaway Waltz\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"Classical Vocal Reprints","offers":[{"title":"Default Title","offer_id":41014255321167,"sku":"CN105","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/012e2070bd8b26edb0038f72f1d317eb.jpg?v=1749625156"},{"product_id":"price-first-sonata-for-organ-clarnan","title":"Price: First Sonata for Organ","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Organ Sonata No. 1\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41029961285711,"sku":"CNE.CN29","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ceb80a0656fad7a733576eae518d950b.jpg?v=1752093171"},{"product_id":"price-fantasie-negre-no-2-in-g-minor-schirmer","title":"Price: Fantasie nègre No. 2 in G Minor","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-fantasie-negre-no-2-in-g-minor\"\u003eFantasie nègre No. 2 in G Minor\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eEarly in 1932 Price revised her first \u003cem\u003eFantasie nègre\u003c\/em\u003e (in in E Minor), which had first been composed in 1929. That spark of creative genius appears to have renewed her interest in its genre, for she penned three more \u003cem\u003efantasies nègres\u003c\/em\u003e in quick succession: the G Minor (No. 2) in early or mid-March 1932, the F Minor (No. 3) on 30 March 1932, and the B Minor (No. 4) on 5 April 1932. It was an extraordinary outpouring of musical inspiration in a genre that Price herself had invented — a genre that creatively integrated African American vernacular idioms (principally spirituals and plantation songs) and the tradition-laden world of the virtuosic European piano fantasy.\u003c\/p\u003e\n\u003cp\u003eBut if the resuscitated E Minor \u003cem\u003eFantasie nègre\u003c\/em\u003e had provided the springboard for Price's return to that genre, this did not mean that the other \u003cem\u003efantasies nègres\u003c\/em\u003e copied it — quite the opposite. for while the first \u003cem\u003eFantasie nègre\u003c\/em\u003e used an actual spiritual as its main theme and a lightly modified plantation song as its second subject, Price asserted a greater level of compositional autonomy in her remaining \u003cem\u003efantasies nègres\u003c\/em\u003e , basing all on themes that stylistically evoked Black vernacular idioms but were actually of her own making. All three feature extended, improvisatory introductions, but the G Minor \u003cem\u003eFantasie\u003c\/em\u003e is unique in its evocation of the ancestral repertoires from the outset, as Price lays out a four-stage expansion of a call-and-response figure that moves between a modal fanfare on D and an ascending D Major arpeggio. The motive of the first two bars proceeds from the soprano register to the bass register (mm. 7-8), suggesting that women initiate the process and are followed by men. The remainder of the work is based on two main themes: a soulful theme in G Minor (mm. 11-37) and a gently lilting contrasting theme in B-flat Major (mm. 38-66), with an insistent G Minor episode enfolded into the latter (mm. 46-53). Interspersed among these evocations of African American repertoires are highly chromatic episodes that showcase Price's rich harmonic technique, as well as an ingenious contrapuntal combination of the main theme and the second theme (both now in B-flat Major, \u003cem\u003emoderato cantabile e con espressione\u003c\/em\u003e) in mm. 99-106. That latter-day reference to the learned counterpoint of the distant past yields first to a reflective episode of extraordinary serenity (mm. 107-118) and then to the extended closing section. The turbulence of the latter leads through a section that Price labeled \u003cem\u003econ bizarria\u003c\/em\u003e (with bizarreness) into a virtuosic apotheosis of the G Minor main theme, through a majestic, chordal allusion to \"How Great Thou Art\" (mm. 155-56), to an \u003cem\u003eaccelerando\u003c\/em\u003e coda derived from the main theme (mm. 158-76). The concept of the G Minor \u003cem\u003eFantasie nègre\u003c\/em\u003e may have been established by its E Minor predecessor — but from the perspective of compositional complexity and expressive intensity the later work leaves its predecessor far behind.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41032478163023,"sku":"GSP60924SCO","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/59f180ae8ece4ebd634b7d3f08eeffd6.jpg?v=1750124980"},{"product_id":"price-suite-no-1-for-organ-clarnan","title":"Price: Suite No. 1 for Organ","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Suite No. 1 for Organ\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41044059357263,"sku":"CN19","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2232d40e706eb764da9d239fe3900de6.jpg?v=1766084797"},{"product_id":"price-communion-service-in-f-clarnan","title":"Price: Communion Service in F","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan, SATB Choir\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Communion Service in F\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41046728114255,"sku":"CN96","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/dd4d3f7477505eed8366f6a539236a2a.jpg?v=1752412183"},{"product_id":"price-four-songs-from-the-weary-blues-schirmer","title":"Price: Four Songs from The Weary Blues","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Four Songs from The Weary Blues\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eSongs\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMy Dream [from \"Dream Variation\"]\u003c\/li\u003e\n\u003cli\u003eSongs to the Dark Virgin [from \"Black Pierrot\"]\u003c\/li\u003e\n\u003cli\u003eArdella [from \"Black Pierrot\"]\u003c\/li\u003e\n\u003cli\u003eDream Ships [from \"Water-Front Streets\"]\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThat Langston Hughes's \u003cem\u003eThe Weary Blues\u003c\/em\u003e (New York: Alfred A. Knopf, 1926) was part of the library of Florence Price, herself a voracious reader of poetry as well as prose and a writer of considerable gifts, is not surprising. Like the eponymous poem that had been published in \u003cem\u003eOpportunity\u003c\/em\u003e in 1925, the volume stands as a quintessential artistic utterance of the Harlem Renaissance — a poetic articulation of the African American experience that was authentic, bold, and startlingly original, all the more remarkable because it was published during Hughes's first year as a student at Lincoln University. The volume as a whole is organized into seven thematic sections: \"The Weary Blues\" (fifteen poems), \"Dream Variations\" (six poems), \"The Negro Speaks of Rivers\" (seven poems), \"Black Pierrot,\" (seven poems), \"Water- Front Streets\" (eleven poems), \"Shadows in the Sun\" (eleven poems), and \"Our Land\" (eleven poems). Although the first three of these sections are the best-known today, the collection as a whole is a profound contemplation of life and death, labor and rest, poetry and music, love and loss and betrayal — and, most importantly, of dreams, those aspirations toward equality, justice, and full celebration of the inherent beauty of Blackness that were central to the African American experience of the time (and remain so today).\u003c\/p\u003e\n\u003cp\u003eSo it is not surprising that the short song cycle presented here is, at its core, a cycle about dreams in the sense of those longed-for imaginings that inspired Hughes's iconic collection. Although the cyclical nature of the collection is obvious — the songs are all composed by the same poet and have the same lyric persona; deal with the same subject, dreams (of various sorts); possess similar poetic imagery; and share certain melodic and accompanimental gestures — the songs presented here have until now never been published together or in the order that Price used. Indeed, Price also copied them into a separate manuscript for legendary contralto Marian Anderson on April 26, 1935 — there presenting the songs in the same order as in the autograph used for the present edition. The opening song, which Hughes titled \"Dream Variation,\" is a contemplation of the beauty of Blackness in harmony and at peace with nature. The second and third songs (\"Songs to the Dark Virgin\" and \"Ardella\"), both in C Major, are songs of physical, romantic, and deliciously sensual love for a beloved whose beauty — in stark contrast to the racist, dehumanizing, White-centric attitudes toward beauty in much of Hughes's and Price's own worlds — resides precisely in Blackness. and the final song (titled \"Water-Front Streets\" by Hughes and retitled \"Dream Ships\" by Price) emphasizes the importance of \"carrying beauties\" in one's heart and one's dreams, even if they are not at hand — a solicitation to perseverance and to willingness to pursue one's dreams, however remote they may seem. Price's music gives eloquent voice to this wide range of ideas, images, and emotions in this little cycle of poems, and we can easily interpret her decision to choose these four for a cycle and set them to music of extraordinary originality and beauty as one born of her identification with these themes.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41089510834255,"sku":"GSP61463VOC","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/d863a77f40f251baeb313ab908151126.jpg?v=1749692049"},{"product_id":"price-12-pieces-for-piano-clarnan","title":"Price: 12 Pieces for Piano","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.7\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThis volume offers the first publication of twelve stylistically diverse compositions for the constant companion of Florence Price's musical life: the solo piano. All are edited directly from the autographs and most recovered from the abandoned house in St. Anne, Illinois, where a sizeable trove of the composer's work was discovered in 2009. Including two rollicking scherzo-like compositions and two extraordinary contributions to her beloved genre of the piano waltz, the works presented here range from intermediate to early-advanced difficulty and offer a vivid and endearing portrait of the boundless musical imagination of Florence B. Price – pianist, teacher, and composer.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAlbum Leaf\u003c\/li\u003e\n\u003cli\u003eThe Bridle Path\u003c\/li\u003e\n\u003cli\u003eJolly Jinks\u003c\/li\u003e\n\u003cli\u003eLittle Cabin Lullaby\u003c\/li\u003e\n\u003cli\u003eLonely\u003c\/li\u003e\n\u003cli\u003eMosquitos in Convention\u003c\/li\u003e\n\u003cli\u003eMy Neighbor's Radio\u003c\/li\u003e\n\u003cli\u003eThe Old Deserted Hut\u003c\/li\u003e\n\u003cli\u003eTempo di Valse\u003c\/li\u003e\n\u003cli\u003eA Tête-à-Tête\u003c\/li\u003e\n\u003cli\u003eThoughts of You\u003c\/li\u003e\n\u003cli\u003eWaltz Charming\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41132444549199,"sku":"C129","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/0868a1cbbb47c31037ba2722808a1e13.jpg?v=1749554257"},{"product_id":"price-variations-on-a-folksong-clarnan","title":"Price: Variations on a Folksong","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrgan\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Variations on a Folksong (Peter, Go Ring Dem Bells)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41182614028367,"sku":"CN26","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/24a0ea086c54a2b67201e8d4e6207f3c.jpg?v=1752430768"},{"product_id":"price-village-scenes-schirmer","title":"Price: Village Scenes","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Village Scenes\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.0\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eFor piano (edited by John Michael Cooper).\u003c\/p\u003e\n\u003cp\u003eBoth of the complete autographs for the first movement of \u003cem\u003eVillage Scenes\u003c\/em\u003e , \"Church Spires in Moonlight,\" tell us that this movement was composed on March 30–31, 1942, and it seems likely that the other two movements were written shortly thereafter. Along with the undated \u003cem\u003eAt Our House\u003c\/em\u003e , \u003cem\u003eIn the Land o' Cotton\u003c\/em\u003e (1943), and the still-unpublished late masterpiece \u003cem\u003eScenes in Tin Can Alley\u003c\/em\u003e , the work is one of four collections that Price composed that were inspired by settings. \u003cem\u003eVillage Scenes\u003c\/em\u003e is the only one of these collections whose first movement is significantly longer and more complex than the others. At some point someone — apparently Price herself — penciled in numbers that appear to represent durations at the head of each movement: \"Church Spires in Moonlight\" is marked \"5\" (i.e., 5'00\"), while \"A Shaded Lane\" is marked \"2\u0026amp;frac12\" (2'30\") and \"The Park\" is marked \"1\u0026amp;frac12\" (1'30\"). All three movements feature the richly chromatic post-Romantic harmonic language inflected with African American patterns that typifies Price's mature style — especially the B section (mm. 31-71) of No. I, the A sections of No. II (mm. 1-39 and their repeat), and the playful central episodes of No. III (mm. 29-40, e.g.). Additionally No. I reveals the evocative post-impressionist techniques also from Price's contemporaneous masterpiece \u003cem\u003eClouds\u003c\/em\u003e — complete with ostinato effects evocative of pealing bells, whole-tone materials (for example, mm. 19-21, 25-26), and wispy filigree (mm. 41, 44, 57, etc.).\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41195943460943,"sku":"GSP60979SCO","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/878be5196db85a04e0d0d94b69466229.webp?v=1770992991"},{"product_id":"price-three-miniature-portraits-of-uncle-ned-schirmer","title":"Price: Three Miniature Portraits of Uncle Ned","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Three Miniature Portraits of Uncle Ned\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eMovements:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eI. At Age Seventeen\u003c\/li\u003e\n\u003cli\u003eII. At Age Twenty-Seven\u003c\/li\u003e\n\u003cli\u003eIII. At Age Seventy\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe \u003cem\u003eThree Miniature Portraits\u003c\/em\u003e , published here for the first time, pose a number of enigmas. Foremost among these is the existence of one complete holograph score for this set, unsigned, among the Margaret Bonds papers in the Booth Family Center for Special Collections at the Georgetown University Libraries. Equally vexing are the work's title and overall structure: the holograph just mentioned names \"Uncle Joe\" and consists of movements \"At Age Seventeen,\" \"At Age Thirty-Five,\" and \"At Age Seventy,\" but the later autograph held in the Florence Beatrice Price Smith papers in Fayetteville, Arkansas, names \"Uncle Ned,\" and although the music of the second movement is the same of that in the \"Uncle Joe\" suite, it is there given as \"At Age Twenty-Seven.\" and the latest surviving autograph is titled simply \"Two Photographs\" (no \"uncle\") and includes only the first and third movements. Finally, although internal evidence shows that the \"Uncle Joe\" set held in the Bonds papers pre-dates the other two manuscripts, the date of this manuscript is unclear, except that it was written on the No. 1 staff paper printed by McKinley Music Company (Chicago) and predominant in Price's manuscripts after she moved to that city. Since the Uncle Joe version was performed in 1948 and the two other versions post-date that one, we may assign a date of 1948 or later to the \u003cem\u003eUncle Ned\u003c\/em\u003e and \u003cem\u003ePhotographs\u003c\/em\u003e versions, tentatively conjecturing that Bonds was in Chicago around the time of the 1948 performance and that Price may have given the earliest manuscript to the younger composer sometime after that performance — but when the work was actually written remains unclear.\u003c\/p\u003e\n\u003cp\u003eMore important for an understanding of the music of the \u003cem\u003eThree Miniature Portraits\u003c\/em\u003e is the identity of the \"uncle\" named in the earlier two versions. (Price's own family tree reveals no candidates for any avuncular relation named or nicknamed \u003cem\u003eJoe\u003c\/em\u003e or \u003cem\u003eNed\u003c\/em\u003e.) While it is theoretically possible that the original version referred to legendary U.S. Representative Joseph (\"Uncle Joe\") Gurney Cannon of Price's adopted state of Illinois (1836-1926; Speaker of the U.S. House of Representatives from 1903 to 1911), or to the character Uncle Joe in Wallace Thurman's acclaimed Harlem Renaissance novel \u003cem\u003eThe Blacker the Berry: A Novel of Negro Life\u003c\/em\u003e (1926), these scenarios are weakened by Price's having changed the titular uncle's name to \u003cem\u003eNed\u003c\/em\u003e in the second version. More likely, considering the names \u003cem\u003eJoe\u003c\/em\u003e and \u003cem\u003eNed\u003c\/em\u003e in conjunction with the term \u003cem\u003eUncle\u003c\/em\u003e , is that these \u003cem\u003ePortraits\u003c\/em\u003e are a musical attempt to humanize, through the process of aging, the stock character of \"Uncle [X]\" from the minstrelsy tradition — a character memorialized partly through Stephen C. Foster's notoriously racist and well-known song \"Uncle Ned\" (\"There was an old darky, and his name was Uncle Ned \/ and he died long, long ago \/ He had no wool on the top of his head \/ in the place where the wool ought to grow\"). As is well known, the stereotype of the folksy wit and wisdom of the African American \"Uncle [X],\" often portrayed as a former slave looking back on the \"good old days\" of the antebellum South, dehumanizes that figure by locking him into a specific stage and station of life and assigning to him a specific pattern of thought and speech that reaffirm White racist stereotypes. in this context, Price's \u003cem\u003eMiniature Portraits\u003c\/em\u003e may be understood as her taking a stand against Black stereotypes that remained current in her day (and in some quarters remain so today) — a clear societal critique. The humanizing resistance to a racist stereotype becomes more poignant because of Price's music: all three movements share common motives — most importantly the descending G – E – D – (B) motive heard at the outset — but the character of these motives change as the \"uncle's\" personality develops over time. The jovial tone of the first movement yields to what Price termed a \"pompous\" character in No. 2 and then to a character of serene reflection or recollection redolent of \u003cem\u003estile antico\u003c\/em\u003e polyphony in No. 3. Price herself presumably identified with this maturation, since the first documented performance of the \u003cem\u003eUncle Joe\u003c\/em\u003e suite occurred in 1948, when she was sixty-one years old, and the other two versions were written after that. (The reasons for her eventual removal of No. 2 and re-titling of the suite from \u003cem\u003eMiniature Portraits\u003c\/em\u003e to \u003cem\u003ePhotographs\u003c\/em\u003e remain obscure — although the \u003cem\u003eSnapshots\u003c\/em\u003e puts this work in the company of her 1952 suite \u003cem\u003eSnapshots\u003c\/em\u003e).\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41195947425871,"sku":"GSP61099SCO","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/629693c69df02dbb547da4119b529225.jpg?v=1770414718"},{"product_id":"price-an-old-love-letter-schirmer","title":"Price: An Old Love Letter","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: An Old Love Letter\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cem\u003eAn Old Love Letter\u003c\/em\u003e is a piece at once enigmatic and immediately approachable. On the one hand, it is the first of two pieces clearly written in succession but not bearing a collective title (the second piece is \"Little Pale Hands and Brown Ones\"). Neither piece is dated, but they are written on a paper-type that is uncommon in Price's papers, printed by the Chicago firm of Rayner, Dalheim \u0026amp; Co. — a paper-type that also appears in \u003cem\u003eMonologue for the Working Class\u003c\/em\u003e and thus suggests a date of October 1941 (the date of that song). On the other hand, it bears all the melodic grace and harmonic richness that for which Florence Price is celebrated. The lyrical \u003cem\u003eA\u003c\/em\u003e section is nostalgic and tinged with melancholy and flavored by blue thirds (all appropriate, of course, for an encounter with \"an old love letter\"), and is itself structured as a frame, with strains in G Major framing a central middle portion in E Minor (mm. 24-31). E Minor then turns out to be the key of the more agitated central \u003cem\u003eAllegro\u003c\/em\u003e , a section whose agitation is underscored by insistent descending chromatic lines. The result is a work that, despite the questions surrounding its composition, offers considerable emotional range.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41196127158351,"sku":"GSP61435SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/8a737468e01512f6cc4a06ed0373196f.jpg?v=1752416424"},{"product_id":"price-violin-concerto-no-2-schirmer","title":"Price: Violin Concerto No. 2","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Solo Part with Piano Reduction\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano Reduction, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eViolin, Orchestra\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Violin Concerto No. 2 in D Minor (1952)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.4\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.5\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41202628722767,"sku":"GSP59062SET","price":63.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/7d299cbdfae277e1c06682d67d6a399c.jpg?v=1749482486"},{"product_id":"price-violin-concerto-no-1-in-d-major-schirmer","title":"Price: Violin Concerto No. 1 in D Major","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Solo Part with Piano Reduction\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano Reduction, Violin\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eViolin, Orchestra\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Violin Concerto No. 1 in D Major\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41212640264271,"sku":"GSP58910SET","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/2e48dcfaf5b9a7e430d926e03d5d6cc2.jpg?v=1752086921"},{"product_id":"price-piano-concerto-in-one-movement-schirmer","title":"Price: Piano Concerto in One Movement","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditors\u003c\/strong\u003e: Clovis Lark, Nicholas Greer\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano, Piano Reduction\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Orchestra\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Piano Concerto in One Movement\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.4\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e14.9\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Solo Part with Piano Reduction","offer_id":41229498646607,"sku":"GSP60868SET","price":100.25,"currency_code":"USD","in_stock":true},{"title":"Solo Part","offer_id":41229493698639,"sku":"GSP60868SOL","price":42.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/8b124e3af9f39958c3b2e8132ea1815a.webp?v=1768416047"},{"product_id":"price-impromptu-no-1-schirmer","title":"Price: Impromptu No. 1","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Impromptu No. 1\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe manuscript of Impromptu No. 1 is undated, but on 25 June 1926 Price submitted it for publication to the publisher Arthur P. Schmidt \u0026amp; Co., a Boston-based firm that had a strong commitment to publishing music by U.S. composers, including an unusually high (for the time) representation of music by women. The firm declined the opportunity, however, and notified Price of this decision on 6 November 1926. The work dates from relatively early in Price's composing career and reveals little of the genius for integrating conventional White styles and Black vernacular idioms that characterizes much of her later music, but it is still the work of a mature composer. By designating it an impromptu, she gave it the genre's usual connotation of brief, unstudied spontaneity. Yet two signature facets of her later style are already clearly visible: her talent for writing material in clearly delineated sections that contrast strongly but are unified by a subtle but distinct musical gesture; and her surefire dramatic pacing. The former is evident in the chromatic chains that are immediately obvious in the A sections (mm. 1-32 and 75-89) but appear only gradually in the B section, and the latter is evident in the coda (mm. 90ff.), which begins with two bars of an augmented sonority and becomes increasingly agitated as it leads to the tempestuous close.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41274699219023,"sku":"GSP61016SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/fe3e1fd1982922ab26f892cd1e62dfef.jpg?v=1770410136"},{"product_id":"price-song-without-words-in-g-major-schirmer","title":"Price: Song Without Words in G Major","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: Song Without Words in G Major\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eAccording to one of the autographs, Price's in G Major Song without Words was \"composed in 1928 or [the] early '30's [sic].\" The inscription appears to have been added later on — perhaps in the 1940s. The broadly approximated date is easy to understand, for this was an extraordinarily eventful period in the composer's life — the period that saw her settling into Chicago's bustling musical scene and ascendance to her role as a leading composer of the National Association of Negro Musicians, the premieres of her First Symphony and Piano Concerto, the receipt of Wanamaker Prizes in several categories, the dissolution of her marriage with Thomas Price, her marriage to P.D. Arnett and separation from him, and more. To look back years later on an undated, unpublished, short composition composed amid such turbulence with greater precision would have been impossible, even for Price.\u003c\/p\u003e\n\u003cp\u003eAnd yet the G Major Song without Words clearly held meaning for Price, for she wrote it out twice and it was in that retrospective retrieval that she also gave it the alternate title \"Pleading.\" That designation, with its implication of one or more speakers who are pleading and another person or persons to whom the entreaties are directed, fits well with this piece — not only because of the obviously vocal character of the melodies themselves, but also because much of the work is cast as interactions among two, three, or occasionally four distinct melodic lines that continually interact, some initiating the interactions and others responding. Typically these exchanges occur between the treble and baritone or bass registers and with different rhythms. for example, the uppermost voices' melody in mm. 5-6 is initially supported by a low, unmoving bass line, but the half-note movements in the bass in mm. 7-8 are cast as responses to that initial entreaty and the descending eighth-note line in mm. 9-10 introduce a new conversational element. The texture thins and the voices diverge from one another rhythmically and melodically in the brief B section in E Minor (mm. 30-35), and many of their interactions are recomposed in the reprise of the A section. Because of this, the \u003cem\u003eforte\u003c\/em\u003e climax at m. 50 is able to usher in an extended three-octave cadential descent that leads to a coda whose air of resolution suggests that, somehow, the entreaties have been heard. and while the pleadings and responses contained in Price's character piece remain, of course, purely musical, the clarity of the conversational exchanges in her G Major song without words recalls Felix's 1842 explanation of his own songs without words (\u003cem\u003eLieder ohne Worte\u003c\/em\u003e):\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eThere is so much spoken about music, and yet so little is said. I believe that words are entirely insufficient for that, and if I should find that they were sufficient, then I would write no more music. People usually complain that music is so ambiguous;…But for me it is just the opposite…[words]…seem to me so ambiguous, so unclear, so misleading in comparison to good music, which fills the soul with a thousand things better than words. — What the music I love expresses to me is thoughts not too \u003cem\u003eunclear\u003c\/em\u003e for words, but rather too \u003cem\u003eclear\u003c\/em\u003e.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eThe previously unknown song without words presented here is, we may safely say, a worthy successor to Felix and Fanny Mendelssohn's own creations in that genre.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41277877616719,"sku":"GSP61058SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ecb5baa2a042e350149ecdbdd6ba0ac3_b5286cf3-839d-44b6-a79c-6c275097b0aa.jpg?v=1749518975"},{"product_id":"price-five-art-songs-cvr","title":"Price: Five Art Songs","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano, Medium-High Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003col\u003e\n\u003cli\u003eHold Fast to Dreams (Langston Hughes) Key in D Major - d Minor\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eplus a transposed higher key, F Major - f Minor\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cp\u003eTravel's End (Mary Folwell Hoisington) Key B Major (Low voice)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eTo My Little Son (Julia Johnson Davis) Key B Major (Medium voice)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eFantasy in Purple (Langston Hughes) Key f Minor (Medium voice)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eSympathy (Paul Laurence Dunbar) Key E-flat (Medium-High voice)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eplus a transposed higher key, G Major (High voice)\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Classical Vocal Reprints","offers":[{"title":"Default Title","offer_id":41333104148559,"sku":"CVR4417","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/6c1d4c650cd017971df9179a43de56f2.jpg?v=1749519874"},{"product_id":"price-the-heart-of-a-woman-cvr","title":"Price: The Heart of a Woman","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano, Medium-High Voice\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano, Voice\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: The Heart of a Woman (1941)\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork Language\u003c\/strong\u003e: \u003cspan class=\"book-language\"\u003eEnglish\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eText by Georgia Douglas Johnson\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Classical Vocal Reprints","offers":[{"title":"Default Title","offer_id":41333105786959,"sku":"CVR4419","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/3b4cbd5d48f72b20164906c7fd330aff.jpg?v=1749324122"},{"product_id":"price-memory-mist-schirmer","title":"Price: Memory Mist","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: John Michael Cooper\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-memory-mist\"\u003eMemory Mist\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41333131411535,"sku":"GSP60518SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/509d3fe5b78b6101e9fd33447df70088.jpg?v=1751337517"},{"product_id":"price-the-old-boatman-schirmer","title":"Price: The Old Boatman","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-the-old-boatman\"\u003eThe Old Boatman\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41362630246479,"sku":"GSP63388SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/086a0a45a40a83b6e14cee6717426d9d.jpg?v=1752097325"},{"product_id":"three-negro-spirituals-for-two-pianos-clarnan","title":"Three Negro Spirituals for Two Pianos","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eArranger\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Set of Performance Scores\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano I, Piano II\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003col\u003e\n\u003cli\u003e\n\u003cp\u003eI Couldn't Hear Nobody Pray\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eLord I Want To Be a Christian\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003eEv'ry Time I Feel the Spirit\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41621872902223,"sku":"CN103","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/76138e449d0838452a945bc4caa5b6f5.jpg?v=1749598526"},{"product_id":"price-3-suites-for-piano-clarnan","title":"Price: 3 Suites for Piano","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003eIn the Land O' Cotton\u003c\/li\u003e\n\u003cli\u003eA Day in the Life of a Washerwoman\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/zh\/collections\/price-at-our-house\"\u003eAt Our House\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"ClarNan Editions","offers":[{"title":"Default Title","offer_id":41621929918543,"sku":"CN100","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/ed992c60e20b43bc94f772ca1cecae46.jpg?v=1752414137"},{"product_id":"price-placid-lake-schirmer","title":"Price: Placid Lake","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-placid-lake\"\u003ePlacid Lake\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eFlorence Beatrice Price's love of nature manifested itself in many aspects of her music — not least among them her several musical reflections on water, lakes in particular. These pieces of \"water music\" include the early masterpiece \u003cem\u003eOn a Quiet Lake\u003c\/em\u003e , its later counterpart \"Lake Mirror\" in the still-unpublished set \u003cem\u003eSnapshots\u003c\/em\u003e and the incomplete \"Mountain Stream,\" and the late contemplation \u003cem\u003ePlacid Lake\u003c\/em\u003e , presented here. All these compositions are tranquil in character, but \u003cem\u003ePlacid Lake\u003c\/em\u003e is most obvious and effective in its musical gestures that evoke Price's African American heritage. in the \u003cem\u003eA\u003c\/em\u003e sections (mm. 1-18 and 26-36) this influence is most obvious in the D to D-flat cadential moves at mm. 6-7 and 33-34, as well as in the prominent added sixth (C) on the tonic harmony at mm. 9 and 36. But the mild dissonance between that C and the dominant (B-flat) actually pervades the work — becoming most prominent in the interplay between the alto and tenor lines in mm. 37-41 of the coda. Although the central \u003cem\u003eB\u003c\/em\u003e section remains in the tonic in E-flat Major (with added C), that section's delicate exchanges of arpeggios among the registers enliven \u003cem\u003ePlacid Lake\u003c\/em\u003e 's rhythmic language. The jazz-influenced stream of parallel chord in m. 17 keeps the work's tonal stability from becoming monotonous, and the abrupt D-flat – A-flat – E-flat – G – C-flat sonority that interrupts the steady pulse in mm. 42-43 beautifully provides direction to conclude a work whose central image — that of a placid lake — is about quietness and stasis.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. Schirmer","offers":[{"title":"Default Title","offer_id":41763668131919,"sku":"GSP60957SCO","price":20.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/450dda41b6146bf9ba87fe0713402c26.jpg?v=1752068480"},{"product_id":"price-preludes-for-piano-schirmer","title":"Price: Preludes for Piano","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/florence-price\"\u003eFlorence Price (1887-1953)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003ePiano\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/zh\/collections\/price-preludes\"\u003ePreludes\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.9\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003ePreludes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eNo. 1. Allegro moderato\u003c\/li\u003e\n\u003cli\u003eNo. 2. Andantino cantabile\u003c\/li\u003e\n\u003cli\u003eNo. 3. Allegro molto\u003c\/li\u003e\n\u003cli\u003eNo. 4 [\"Wistful\"]. Allegretto con tenerezza\u003c\/li\u003e\n\u003cli\u003eNo. 5. Allegro\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePublished here for the first time, Price's \u003cem\u003ePreludes\u003c\/em\u003e are her first Major set for piano — and they are not without their enigmas. for one, only one of the autograph sources bears Price's name, a rare occurrence in her papers. for another, the earliest manuscript version (now surviving as two separate autographs, identified as sources AS 2 and AS 3 below) is dated June, 1926, but neither it nor the only complete autograph that survives intact (source AS 1) names Price as author. Most curious of all, that autograph is found not with most of the remainder of Price's musical estate in the Special Collections division of the University of Arkansas Libraries, Fayetteville, but rather in the papers of Margaret Bonds (1913-72) at the Booth Family Center for Rare Books and Manuscripts in the Georgetown University Libraries (Washington, D.C.). Because Price collaborated with Bonds on several projects in 1932-34, lived in the Bonds home after her separation from her second husband, P.D. Arnett, in late 1933 or early 1934, and had no sustained interaction with Bonds after the younger composer's move to New York in 1939, this autograph was probably written between 1932 and 1939. But source AS 1 clearly served as the basis of a separate autograph for No. 4 titled \"Wistful \" (source AS 4, below), and that manuscript survives in a brown-paper folder bearing the address \"4404 Vincennes Ave., \" where Price lived with Arnett in 1931-1933\/34. Finally, source AS 1 is written on PHILADA paper, which is rare in Price's manuscripts after 1932. The complete set may thus be tentatively dated 1926-32.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003ePreludes\u003c\/em\u003e are also unique among Price's sets for piano solo in that they are her only set of \"absolute \" rather than characteristic or programmatic pieces. All of Price's later sets bear descriptive collective titles and movement titles such as \u003cem\u003eVillage Scenes\u003c\/em\u003e (\"Church Spires in Moonlight,\" \"A Shaded Lane, \" and \"In the Park\") or \u003cem\u003eSnapshots\u003c\/em\u003e (\"Lake Mirror,\" \"Moon behind a Cloud,\" and \"Flame\"). But the lack of a descriptive collective title for the \u003cem\u003ePreludes\u003c\/em\u003e should by no means be taken to indicate that they are abstract, abstruse, or (least of all) bland. The existence of No. 4 as a separate work titled simply \"Wistful \" clearly assigns a distinct and melancholy character for that movement, and the other movements all possess-sharply contrasting characters as well as imaginative and evocative music. No. 1 as a whole is conspicuously impetuous, alternating between the dotted main theme in C Major, fanfare-like figures, and a lyrical second theme; No. 2 is dominated by a leisurely, song-like theme but includes a middle section of greater urgency; and No. 3 seems to take the character of the middle section of No. 2 as its point of departure. Nos. 4 and 5 form a complementary pair in G Minor, moving from an exploration of Tchaikovsky-like melancholy to a rapid and concentrated technical study to bring the set to an exciting close.\u003c\/p\u003e\n\u003cp\u003e— John Michael Cooper\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"G. 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