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Sheet Music Publications for Piano

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Stained Glass Window

Rocking Horse

Seamstress's Mannequin

Rag Doll Ballet

Treasures in the Attic is a series of short programmatic works for solo piano.

Beginning with an inquisitive sense of wonder, Stained Glass Window explores the discovery of a manhole, the entrance to the attic.

The neglected Rocking Horse has been abandoned and left to reminisce about the past.

The ominous Seamstress’s Mannequin explores fear and trepidation to be found in the dark, dusty attic.

In Rag Doll Ballet, a neglected one-eyed doll dances alone next to the off-key music box

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Performed by Adam Pinto
	Fragment 01
	Fragment 02
	Fragment 03
	Fragment 04
	Fragment 05
	Fragment 06
	Fragment 07
	Fragment 08
	Fragment 09
	Fragment 10
	Fragment 11
	Fragment 12
	Fragment 13
	Fragment 14
	Fragment 15
	Fragment 16
	Fragment 17
	Fragment 18
	Fragment 19
	Fragment 20

This collection was devised by Damian Barbeler, Barry Cockcroft, Stuart Greenbaum and Adam Pinto in haphazard fashion at a dinner party, in October of 1999. After several reds, the proposal emerged that we write solo piano pieces for Adam, entitled Fragments of Gratification.

This idea grew into a collection that now features 20 Australian composers. Each was invited to submit a miniature for solo piano, written on any single day between the new year’s eves of 1999 and 2000, capturing a personal response to the theme, Fragments of Gratification. Some of the fragments have been spread over two pages for ease of performance, but all were submitted on a single page.

The fragments are ordered chronologically in this edition, though the performer is encouraged to devise their own performance order. They may play all 20, or a smaller selection. Aesthetic clues (written by the composers) are printed at the top of each fragment. Corresponding Roman numerals can be cross referenced with the list of composers ‘by birthday’ and the full ‘date of birth’ listing at the back of this edition to help ‘solve’ the identity of the composer of any given fragment.

The aesthetic clues should appear in the concert program (with corresponding Roman numerals) in performance order. A separate list of composers, in alphabetical order, should also be included with a note encouraging the audience to speculate upon the matching of clues to composers. The audience can think about an aesthetic clue, while listening to the corresponding fragment. If circumstances permit, the audience may then be invited to submit their guesses at the conclusion of the concert - the winner being awarded a nominal or honorary prize...