Composed by Various. For C Instruments. Easy Fake Book. Softcover. 216 pages. Published by Hal Leonard

Harp; Violin

SKU: UT.MAG-277

Composed by Ludwig van Beethoven. Edited by Anna Pasetti. Saddle stitching. Magadis. Classical. Ut Orpheus #MAG 277. Published by Ut Orpheus (UT.MAG-277).

ISBN 9790215326897. 9 x 12 inches.

De Marin’s harp compositions are different from the whole repertoire coeval with him. From the compositional point of view, in his music there is a peculiar synthesis of stylistic elements of different origins: the lesson of the great Baroque composers can be easily recognized in the polyphonic conduct of slow movements, while in the use of ornamentation he recalls the style of French keyboard music from the first half of the 18th century. There are also hints of the sensitive style which was typical of harp music by Meyer and Krumpholtz, with frequent forays into minor keys and a certain formal indeterminacy, but at the same time the composer’s gaze turns forward, towards the Beethovenian conquests. All these elements translate into a harpistic language which seemed revolutionary to contemporaries and which still does not fail to amaze. In particular, the use of the peculiar sound effects of the harp takes on a characteristic role: harmonic and muffled sounds, pedal slides, to which is added the use of the eighth pedal, of rénforcement (disappeared in modern harps), are integrated into the writing and become part of the compositional fabric in all respects, according to a concept that will later be found only in the harp music of the twentieth century.
His knowledge of Beethoven’s compositions is testified by these two adaptations of the Adagios of violin sonatas op. 12, n. 2 and 3, published by Marin shortly after the first printing of the originals.

By Various. Arranged by Lloyd Larson. For Vocal Solo. This edition: Complete. Vocal Collection. General, Sacred. Collection. 245 pages. Published by Hope Publishing Company

Over 200 Licks in All Styles. Hal Leonard Guitar Method. Soloing. Softcover instructional book and online audio (examples only). With introductory text, standard guitar notation, guitar tablature and musical examples. 47 pages. Published by Hal Leonard

Vocal soli, mixed choir, orchestra

SKU: BR.SON-426

Complete Works. Composed by Felix Bartholdy Mendelssohn. Edited by Christian Martin Schmidt. Linen. Complete Works. Romantic period. Complete Works. 528 pages. Breitkopf and Haertel #SON 426. Published by Breitkopf and Haertel (BR.SON-426).

ISBN 9790004803073. 10 x 12.5 inches.

Elijah - Early Versions document a decade that ranges from the first conceptional ideas of 1837, hence directly after the completion of St. Paul, to the world premiere of Elijah on 26 August 1846. Mendelssohn had already worked out the plan for a libretto with his friend Carl Klingemann in 1837. Shortly thereafter, Klingemann sent a text which the composer then passed on to his friend, the theologian Julius Schubring. Then began a breathtaking logistical marathon in which Mendelssohn, during the final phase, raced to prepare the world premiere in Birmingham from Leipzig, while simultaneously taking the elaboration of the libretto increasingly into his own hands; indeed, he was, as usual, still changing, deleting, and even adding entirely new numbers at the rehearsals - with the result that the performance was ultimately only an essay, a pre-world premiere of the great work which he was later to subject to several more revisions.

Awarded the German Music Edition Prize 2023.

By Various. Easy Piano Songbook. Softcover. 288 pages. Music Sales #AM1011461. Published by Music Sales

Jazz Ensemble 2 Alto saxophones, 2 Tenor saxophones, 3 trumpet, 2 trombonne, piano, guitar, double bass, Dr

SKU: PE.EP68488A

Composed by Jelly Roll Morton. Jazz Ensembles. Edition Peters. Part(s). 60 pages. Edition Peters #98-EP68488A. Published by Edition Peters (PE.EP68488A).

ISBN 9790300758909. English.

At the end of 1938, Jelly Roll Morton (1890-1941) returned to New York from his years in Washington, D.C. Recent publicity had made a comeback seem possible, and he hoped to recapture the prominent place in the jazz world that he had held in the 1920s. Still well known, though mainly as a New Orleans music pioneer, he understood that in order to be taken seriously as a contemporary artist, he needed to form a big band like those of his competition, such as Duke Ellington, Count Basie, Benny Goodman, and Tommy and Jimmy Dorsey. In the 1920s Morton's recordings and tours featured a ten-piece band following the first-generation big-band format. But in the late 1930s, larger groups were popular, so Morton assembled a conventional '30s band consisting of four saxophones, six brass, and four rhythm. The band was to open at the Golden Gate Ballroom in Harlem on April 17th, 1939, but on opening night Morton collapsed before going onstage. During his recuperation from the asthma and heart problems that dogged him, the band broke up, never to reassemble. Only six items written for that band's instrumentation are known to exist: Morton's arrangements of his own compositions -- Finger Breaker, GanJam, Good Old New York, Mister Joe, and Stop and Go -- and an arrangement, Mamies' Blues, by another artist. -- James Dapogny (Editor)

As an editor, Dapogny shows his customary sound musical scholarship and deep knowledge of Morton's style....The publishers are to be congratulated for bringing this fascinating work into the public domain, which throws a totally new light on 'Mister Jelly Lord.' Who knows what he would have achieved had he lived beyond his alleged 51 years? --Martin Litton, for JUST JAZZ (Feb 2011)

Composed by Eric Barnum. For SATB choir, a cappella. Octavo. Published by Alliance Music Publications