By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Orchestra Orchestra

SKU: PR.11641145L

Composed by Lowell Liebermann. Large Score. 80 pages. Duration 20 minutes. Theodore Presser Company #116-41145L. Published by Theodore Presser Company (PR.11641145L).

The Concerto for Piccolo and Orchestra Op.50 was commissioned by Jan Gippo, principal Piccolo of the St. Louis Symphony, who gave the premiere of the work on August 18th, 1996, in New York City with the New Jersey Symphony Orchestra conducted by Glenn Cortese. The occasion was the annual convention of the National Flute Association, who sponsored the commission.Jan Gippo had enthusiastically pursued the idea of commissioning a Piccolo concerto from me ever since he played orchestral Piccolo in the premiere of my Concerto for Flute with James Galway and the St. Louis Symphony. Won over by his enthusiasm, I agreed to write this work for an instrument which has had virtually no concerto repertoire since the baroque era. In doing so I was eager to stress the lyrical and expressive qualities of an instrument which is too often stereotyped as being useful for only brilliant and ornamental flourishes.The work falls into three movements which are united by thematic and motivic materials, significant among which is a twelve note row which forms the basis of the second movement’s variations. The final movement, which puts the seriousness of the first tow movements aside for an unbridled romp, makes use of three explicit musical quotations at strategic structural moments, one of which is an implicit homage to Shostakovich, who quoted from the same work in his own second Violin Concerto.Orchestration of the Concerto was completed at the Loew’s Hotel in Monte Carlo, where I was situated for the rehearsal period of my opera The Picture of Dorian Gray.The Concerto for Piccolo and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.

Composed by Philip E. Silvey. Sws. Octavo. 20 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #CM9651. Published by Carl Fischer Music

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.

(The Complete Book and Lyrics of the Broadway Musical The Applause Libretto Library). By Oscar Hammerstein and Richard Rodgers. Applause Libretto Library. Softcover. 160 pages. Published by Applause Books

Strings (Score)

SKU: HL.50600899

For 15 Strings (2015) (Score). Composed by Lá, Tihanyi, and szló. Contemporary Music. EMB. Classical. Softcover. 44 pages. Duration ca 12'. Editio Musica Budapest #Z14947. Published by Editio Musica Budapest (HL.50600899).

ISBN 9790080149478. 10.25x14.25x0.337 inches. Laszlo Tihanyi.

The work was commissioned by the Budapest Strings and received its first performance on March 21, 2015, where it was conducted by the composer. It is not an orchestral piece per se, but a chamber work for an ensemble of 15 string soloists in which players divide into groups of five and sound at structurally important moments. It also features various high-pitched, tinkling percussion instruments, including: bells, wind chimes and crotales. This lends a special tinge to the night music character of the piece implied by the line from William Blake chosen as the title. The percussion play a far more essential role than one might imagine based off of the relatively few notes that they play. Their soundings both advance and impede the musical processes taking place in the strings so much so that in some places the string sound appears to be accompanying the tinkling sounds. Due to all these factors, Tihanyi's night becomes mysterious and even frightening, but never gloomy. (Janos Malina).