Composed by Thomas Ades (1971-). Arranged by Jim Clements. Single Titles. Faber Edition: Choral Signature Series. Secular. Choral Octavo. Faber Music #12- 0571540937. Published by Faber Music

By James Swearingen, Clement Clarke Moore. Intermediate Wind Band/Ensemble. FJH Developing Band. Narrated by one to five people, this work presents the perfect opportunity to feature students, faculty, support staff, or school administrators. Dress for narrators may include choir robes along with black folders or simply appropriate outfits complimented with Santa hats. Between readings, the ensemble performs seasonal favorites and provides the audience with a few humorous suggestions. Score for this title: B1315S. Extra part for this title: B1315P. Concert Band. Level: 1.5. Score and Set of Parts. Published by The FJH Music Company Inc.

Piano

SKU: ST.K14

Composed by William Tasdall. Edited by Howard Ferguson. Edited by Howard Ferguson. Score. Stainer & Bell Ltd. #K14. Published by Stainer & Bell Ltd. (ST.K14).

ISBN 9790220216787.

CONTENTS
Almand (FWVB 213)
Pavana Chromatica: Mrs Katherin Tregian's Paven (FWVB 214)
Pavana: Clement Cotton (FWVB 219)
Pavana (FWVB 220)
Galiarda (FWVB 295)
Coranto (JBVB 3)
Coranto (JBVB 4).

For All Organs. By Carrie Jacobs-Bond, Charles W. Cadman, Edvard Grieg, Camille Saint-Saens. Arranged by Mark Laub. Text: Charles Cory; Clement Scott; D.F. Blomfield; Edward Teschemacher; Hans Christian Andersen; Nelle Richmond Eberhardt. For Organ. Solo part. 34 pages. Published by Theodore Presser Company.

By Michael Burkhardt. For organ. Organ Music. Level: Easy/Medium. Published by MorningStar Music Publishers.

Composed by Franz Clement. Edited by Clive Brown. Special Publications. Piano reduction and part. Published by A-R Editions (A2.S003).

Books and Journals

SKU: UT.QC-2

Composed by Rohan H. Stewart-MacDonald. Hardback (Cloth Hard Cover with Jacket). Quaderni Clementiani. Classical. Books and Journals. Ut Orpheus #QC 2. Published by Ut Orpheus (UT.QC-2).

ISBN 9788881094585. 6.5 x 9.5 inches.

The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically.
The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto – a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.

By Francois Clement Theodore Dubois. (SATB). Choral. Size 6.8x10.5 inches. 4 pages. Published by G Schirmer, Inc.

Violin and Orchestra

SKU: BT.EMBZ40060

Composed by Ludwig van Beethoven. EMB Study Scores. Solo & Concerto. Book Only. Editio Musica Budapest #EMBZ40060. Published by Editio Musica Budapest (BT.EMBZ40060).

Though some themes of the D major Violin Concerto appear fragmentarily among Beethoven's earlier drafts, the score received its final shape - according to the autograph manuscript - in 1806 only. The first performance took place on December 23 of the same year in Vienna, the violon solo was played by Franz Clement. The concerto met with a rather cold reception: this critic of the Wiener Theaterzeitung admitted 'some beauty' in it but for the rest he found that '...the coherence often seems totally broken and the endless repetitions of some commonplace sections can easily become tedious.' The performance may have not been totally satisfying, it is certainly surprising that the setof parts published in 1808 is dedicated to Stephan von Breuning instead of Clement. It is not impossible that Beethoven lost faith in the value and future of his work, too, - his later attempt to change it into a piano concerto can be interpreted in this way.