Orchestra SSA choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp, organ, 2 violins, viola, cello, double bass [piano for rehearsal only]

SKU: CA.751005

Composed by Franz Schreker. Edited by Christopher Hailey, Iris Pfeiffer. Sacred vocal music, Psalms, German. Choral Score. Composed 1900. 8 pages. Duration 14 minutes. Carus Verlag #CV 07.510/05. Published by Carus Verlag (CA.751005).

ISBN 9790007113407. Language: German.

Franz Schreker was an important representative of the Wiener Moderne and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women's choir and orchestra (1900) and dedicated to his beloved teacher Robert Fuchs, in reverence. Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms's romantic classicism. Thus, Schreker's psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same year by the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms's Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. Score available separately - see item CA.751000.

Orchestra (Score) - Grade 4

SKU: HL.14027994

Composed by Poul Ruders. Music Sales America. Classical. Set. 86 pages. Edition Wilhelm Hansen #WH29830. Published by Edition Wilhelm Hansen (HL.14027994).

ISBN 9788759864593.

New York is the city which fascinates and inspires Ruders. Time and again he goes back there to work. 'Manhattan Abstraction' (1982) subtitles - a symphonic skyline for large orchestra - was conceived there. Ruders' Brittish colleague Oliver Knussen defines the piece as: - a performance of an extraordinary Morden-Times-like construction. It is a sort of symphonic sculpture, which in the composer's own words words propels forth from one particular inspiration: the New York profile, as seen from Liberty Island, one icy cold January day with it's open, clear sky and dazzling sun light. 'Manhatten Abstraction' appears as an amalgam of some of the compositorical habits found in present pieces. For instance, are present here compositorical ideas and melodic loans from 'Capriccio Pian'e Forte', 2nd String Quartet(1979), 'Four Compositions' (1980), and 2nd Piano Sonata(1982). The question at hand is mainly concerned with the enhanced elaboration of Ruders' use of the classic English change-ringing system: a permuting method pre-determining the order of tone-appearances and /or tone groups; a serial technique in other words. In spite of the rigidly fixed material, Ruders somehow manages to chisel out a personal expression by way of emphasising contrasting elements already existing within the material itself. The spiky, repetitive sections form a counterpart to a more human violin-solo. This dialectical tension is - as hinted by the title - a symphonic abstraction of a fascinating metropolis; the most beautiful and the ugliest. The subtitle: a symphonic skyline reflects the musical erection of the Manhattan profile, which under the clear sky, materializes into the most powerful and compelling man-made sculpture on earth. Thus 'Manhattan Abstraction' is a homage to, as well as a vision of, this giant contraption of concrete, glass, and chrome.

SKU: HL.48184305

Composed by Marcel Bitsch. Leduc. Classical. CD. Alphonse Leduc #AL27277. Published by Alphonse Leduc (HL.48184305).

Born in Toulouse, Marcel Bitsch (1921-2011) went on to study at the Paris Conservatoire before becoming a professor of counterpoint at the institution. As an exceptionally versatile musician, Bitsch has composed orchestral works, chamber works, numerous pieces and studies for wind instruments, as well as theory books. Precise Tonal Harmony is a significant addition to the theoretical study of harmony. Accessible for beginner to advanced musicians, Bitsch's Precise Tonal Harmony addresses a variety of technical, harmonic elements. These include, chords, intervals, inversions, figured bass, cadences, modulations and suspensions, amongst many other aspects. Bitsch's Precise Tonal Harmony includes all of the harmonic devices required in the theoretical study of the element. Precise Tonal Harmony is an outstanding and necessary accompaniment to all harmony studies..

Composed by Jonathan Adams. For guitar. Perfect binding. Getting Into. Guitar Methods, Fingerpicking. Beginning. Book and Online Audio. 96 pages. Published by Mel Bay Publications, Inc

By Sydney Carter. Arranged by John Rutter. For SAB choir with optional descant. The John Rutter Choral Series. American Folk Tune, Life of Christ, Redemption, Hymntune, Children, Lent, Sacred. Octavo. 12 pages. Published by Hope Publishing Company

Piano (Piano)

SKU: HL.48181241

Composed by Marcel Bitsch. Leduc. Classical. Softcover. 8 pages. Alphonse Leduc #AL20583. Published by Alphonse Leduc (HL.48181241).

UPC: 888680868239. 9.0x12.0x0.096 inches.

For Noami - The anthology is a set of ten easy studies for Piano two-hand by Marcel Bitsch. Great for beginner pianists, each study focuses on a specific aspect. These ten lovely studies and the aspects they highlight are: 1. Duet ? Legato 2. The little railway ? Staccato 3. When there were coaches ? Loure 4. On the water ? Passage of the thumb 5. Invention ? Scale 6. In the meadow ? Arpeggios 7. Lullaby ? Sustained notes 8. Chase ? Chromatic scale 9. Fanfare ? Chords 10. Ring for Matins ? The double notes with the wrist Marcel Bitsch is a French musician who specialised in teaching the counterpoint and the fugue. He composed many orchestral pieces and some chamber music. He also wrote the analysis of some works by J. S. Bach..

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response.’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.