(Treble Solo, SATB Chorus and Organ). By Benjamin Britten (1913-1976). For Choral (SATB, Organ). BH Large Choral. 24 pages. Boosey and Hawkes #M051481699. Published by Boosey and Hawkes

Grade 3

SKU: CL.012-1644-01

Composed by Forsblad. Concert Band. Audio recording available separately (item CL.WFR138). Extra score. Composed 1982. Duration 5 minutes, 25 seconds. Opus III Wind Orchestra Publications #012-1644-01. Published by Opus III Wind Orchestra Publications (CL.012-1644-01).

This skillfully conceived composition starts slowly with mounting tension and bursts suddenly into an exciting scherzo. The thematic interlocking motives build, subside, and build again to a brilliant climax.

Harp, piano

SKU: FG.55011-911-6

Composed by Einojuhani Rautavaara. Classical, contemporary. Score and part. Fennica Gehrman #55011-911-6. Published by Fennica Gehrman (FG.55011-911-6).

ISBN 9790550119116.

Piano reduction for Einojuhani Rautavaara's Concerto for harp and orchestra (2000) available for the first time (2024)! This product includes also the solo part edited by Kalen Smith.

The composer tells about the three-movement work: The concerto is in three movements. After the orchestral introduction, the harp leads into a gradually thickening texture that progresses into a series of powerful culminations. Once these subside, the expansive motifs of the introduction return. The solo is echoed by two harps in the orchestra: I wanted the magnificent sound to be multiplied. The simple melody in the second movement is coloured in a very archaic way by the orchestra; we might imagine the performance of a troubadour or a bard in ancient times. The finale is festive, 'solenne'. It presents the combined sonority of the three harps at its most colourful and melodic.

Duration: 23'
Orchestra: 2222-4220-12-2hp-str (performance material is available for hire from the publisher).

The study score is available for sale (M042091586).

Einojuhani Rautavaara (9. October 1928 � 27. July 2016) is internationally one of the best known and most frequently performed Finnish composers. He was by nature a romantic, even a mystic, as is often apparent from the titles of his works: for example Angels and Visitations for orchestra or his double-bass concerto Angel of Dusk. Despite Rautavaara�s label of mysticism he was a complex and contradictory figure whose works cannot be categorized in stylistic terms.

Choral SATB Choir

SKU: CF.CM9654

Composed by Mark Burrows. Fold. Performance Score. 12 pages. Duration 4:15. Carl Fischer Music #CM9654. Published by Carl Fischer Music (CF.CM9654).

ISBN 9781491157268. UPC: 680160915828. 6.875 x 10.5 inches. Key: Ab major. English, English. Julian of Norwich (1342-1416).

Burrows's setting of words of assurance from the English mystic Julian of Norwich (1342-1416) is as relevant today as ever. For the advanced mixed ensemble, the powerful lyrics coupled with gorgeous harmonies make this an optimistic song of hope appropriate throughout the year.
All shall be well, And all shall be well, And all manner of thing shall be well. These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text. One of the most striking features is how this short text incorporates so much repetition. It's as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in. The opening section tries to capture musically some of that persistent optimism. Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now. Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.
All shall be well,And all shall be well,And all manner of thing shall be well.These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text.One of the most striking features is how this short text incorporates so much repetition. It’s as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in.The opening section tries to capture musically some of that persistent optimism.Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now.Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.

Chamber Music String Quartet

SKU: PR.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

Concert band - Grade 4

SKU: CL.012-4180-01

Composed by Romeyn. Concert Band. Concert Band Series. Audio recording available separately (items CL.WFR378 & CL.WFR387). Extra full score. Composed 2013. Duration 8 minutes, 20 seconds. Opus III Wind Orchestra Publications #012-4180-01. Published by Opus III Wind Orchestra Publications (CL.012-4180-01).

This monumental programmatic work from the pen of Rob Romeyn captures the myth and legend of Zeus, the mythical master of the gods and men. A sky god, he controls lightning, which he uses as a weapon, and thunder. It opens as Zeus becomes involved in the Trojan war, hurling lightning bolts at his opponents. The tension soon subsides as we are introduced to the eternally beautiful Hera, whom Zeus would eventually marry. The music then ensues as our story unfolds, as Zeus made his domain the mountaintops and clouds where he could survey all creation, and inflict pain and justice on all evildoers. Tension builds as Zeus battles Typhon in hand to hand combat, ending ultimately with Zeus throwing the enormous Mt. Etna at the monster, pinning him underneath. From here, the tension subsides, and a beautiful lyrical section builds to an ending of incredible power and grandeur as Zeus again reaffirms his stature as the ruler of Mt. Olympus. This exceptional work is a wonderful addition to any concert or festival performance!

By Rob Romeyn. For young concert band. Command Series. Grade 2.5. Score and set of parts. Duration 3 minutes, 8 seconds. Published by C.L. Barnhouse

Concert band - Grade 1

SKU: CL.024-4449-01

Composed by Romeyn. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR390). Extra full score. Composed 2016. Duration 2 minutes, 50 seconds. C.L. Barnhouse #024-4449-01. Published by C.L. Barnhouse (CL.024-4449-01).

Simple Dreams is lyrical music of the highest quality for beginning band. Beautiful and expressive, the piece begins softly as a memorable melody is introduced. The melody is then developed amid varied textures leading to a dramatic crescendo and a soaring full ensemble. The music then subsides, ending as it began with just a whisper and a touching spell of a dream no one will want to break. An outstanding addition to the beginning band repertoire.

Choral (SATB)

SKU: HL.49046382

Unaccompanied SATB Choral Score. Composed by Julian Anderson. Choral Large Works. Classical. Softcover. 40 pages. Duration 600 seconds. Schott Music #ED13975. Published by Schott Music (HL.49046382).

UPC: 841886031753. 0.126 inches.

Magnificat is a tribute to the unaccompanied motets of favourite composers from several eras - in particular those of Dufay, the Eton Choirbook, Robert Carver, Lassus and Bach. The work is therefore full of contrast in texture, harmony, mood and pacing, and exploits the resources of unaccompanied chorus in a manner not only analogous to those already mentioned but also to ensemble or orchestral writing. Naturally - given the sentiments of the text - the mood is predominantly joyful and exuberant; but the darker implications of certain phrases in the text are not ignored. Towards the end there is a big choral explosion on one of the traditional plainsong chants for the Magnificat, before the work subsides into a coda of calm serenity. Magnificat was commissioned by the ORA choir. It is dedicated to the French composer Betsy Jolas, in celebration of her 90th birthday, and in equal celebration of our mutual love of many choral composers mentioned above.

Arranged by Steve Hodges. Arr. Steve Hodges. For Concert Band. Concert Band. Challenger Band Series. Level: grade 1.5. Conductor Score & Parts. 1 pages. Published by Alfred Publishing.

Concert Band/Harmonie (Score) - Grade 3

SKU: HL.44012269

Composed by Philip Sparke. Anglo Music Concert Band. Score Only. Composed 2014. Anglo Music Press #AMP372-140. Published by Anglo Music Press (HL.44012269).

UPC: 888680057640. 9.0x12.0x0.118 inches. English-German-French-Dutch.

Golden Winds was commissioned by Jugendblasorchester Schramberg, Germany, to celebrate their 50th anniversary in 2012. They gave the premiere, conducted by Andreas Hirt, at their Christmas concert that year.The work opens with a nervously energetic theme in the lower woodwinds, which is developed in canon and builds to climax for the whole band. The mood subsides to introduce a meditative section featuring first the clarinets and then a rich, chorale-like theme which grows into a passionate tutti. This then leads to the main body of the piece, a rhythmic vivo, which introduces its main theme quietly before it is taken up by the full band. A brief bridge passage thenintroduces a muscular second subject which develops until the bridge passage reappears to lead to a repeat of the main theme. This is transformed to herald a return of the opening bars of the piece, which now bring the work to a celebratory close.

Golden Winds werd geschreven in opdracht van het Jugendblasorchester Schramberg uit Duitsland, dat in 2012 zijn vijftigjarig bestaan vierde. Het orkest bracht het werk in premiere tijdens het kerstconcert van het jubileumjaar, onder leiding van dirigent Andreas Hirt.De compositie begint met een koortsachtig, energiek thema in het lage hout. Dit ontvouwt zich vervolgens tot een canon, die uitmondt in een door het complete orkest uitgevoerd hoogtepunt. De muziek wordt rustiger van sfeer en er ontwikkelt zich een meditatieve passage, aanvankelijk gespeeld door de klarinetten, waarna een rijk, koraalachtig thema uitgroeit tot een gepassioneerd tutti. Het centralegedeelte van het werk, een ritmisch vivo, introduceert het hoofdthema, eerst zachtjes en dan weerklinkend in het hele orkest. Een kort fragment leidt een krachtig tweede motief in, waarop wordt voortgebouwd totdat de bridgepassage opnieuw opduikt en ons meevoert naar een herhaling van het hoofdthema. Dat ondergaat een transformatie en kondigt dan de terugkeer van de openingsmaten aan, waarmee het werk op feestelijke wijze wordt afgesloten.

Golden Winds wurde zum 50-jahrigen Jubilaum des Jugendblasorchesters Schramberg in Auftrag gegeben. Die Premiere fand beim Weihnachtskonzert selbigen Jahres unter der Leitung von Andreas Hirt statt.Das Werk setzt mit einem Thema voll gespannter Energie in den tiefen Holzblasern ein, das kanonisch weiterentwickelt wird und sich zu einem Hohepunkt fur das gesamte Orchester aufbaut. Diese Stimmung klingt ab zugunsten eines meditativen Abschnitts, der zunachst die Klarinetten in den Vordergrund ruckt und dann ein volltonendes, choralartiges Thema, das zu einem leidenschaftlichen Tutti anschwillt. Dieses fuhrt zum Hauptteil des Stuckes, einem rhythmischen Vivo, das seinHauptthema leise vorstellt, bevor es vom gesamten Orchester aufgenommen wird. Eine kurze Uberleitung prasentiert ein kraftvolles zweites Thema, das weiterentwickelt wird bis die Uberleitung zuruckkehrt und die Wiederholung des Hauptthemas bewirkt. Dieses verwandelt sich in eine Ankundigung der Eroffnungstakte, die das Werk nun zu einem festlichen Schluss fuhren.

Golden Winds est une commande de l'Harmonie des Jeunes de Schramberg, en Allemagne, pour marquer son cinquantenaire en 2012. L'orchestre a cree cette piece sous la direction d'Andreas Hirt lors de son concert de Noel la meme annee.La piece s'ouvre sur un theme nerveux et energique joue dans le registre grave des bois qui se developpe en canon et s'amplifie pour arriver a un climax avec l'orchestre entier. L'ambiance s'apaise pour introduire un passage contemplatif qui met en avant d'abord les clarinettes, puis un theme opulent en forme de choral qui se transforme en un tutti ardent. Celui-ci mene au corps de la piece, un vivo rythme qui introduit doucement son themeprincipal avant une reprise par l'orchestre entier. Un court passage de transition introduit alors un second sujet muscle qui se developpe jusqu'a la reapparition du passage de transition pour mener a une reprise du theme principal. Ce theme se transforme pour annoncer le retour des premieres mesures de la piece, qui menent a une conclusion festive.

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225

Composed by Larry Clark. Concert Band (CPS). Set of Score and Parts. With Standard notation. 12+12+6+12+24+24+6+4+6+6+6+6+8+8+8+4+4+6+6+6+8+2+1+6+2+4+10+32+4 pages. Duration 6 minutes, 9 seconds. Carl Fischer Music #CPS225. Published by Carl Fischer Music (CF.CPS225).

ISBN 9781491152515. UPC: 680160910014.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.