By Bob Chilcott. For SATB choir and organ/string orchestra. Mixed Voices. Christmas, Choral Leaflet. Vocal score. 4 pages. Duration 2.5'. Published by Oxford University Press

String Quartet (Score & Parts)

SKU: HL.49044850

Composed by Huw Watkins. This edition: Saddle stitching. Sheet music. Ensemble. Classical. Softcover. Composed 2013. 114 pages. Duration 15'. Schott Music #ED13576. Published by Schott Music (HL.49044850).

ISBN 9790220134388. UPC: 841886027633. 9.0x12.0x0.295 inches.

Watkins' String Quartet, set in three movements, showcases the range of emotions the composer is able to conjure through music. The piece works from gently ebbing lyrical episodes into virtuosic, impassioned frenzies and back, ending serenely.

Composed by Antonio Vivaldi (1678-1741). For Voice (Score). Misc. Hardcover. 332 pages. Ricordi #RNR136681. Published by Ricordi

By Donald Martino (1931-2005). For SATB Chorus, Chamber Orchestra. This edition: Study Score. Contemporary Classical. Contemporary Classical. Professional. Sheet Music. Published by Dantalian, Inc.

Volume X: Favorite Songs. By Various. Arranged by Joan Sutherland, Richard Bonynge. (Voice and Piano). Boosey and Hawkes Voice. Book only. Size 8.5x11 inches. 194 pages. Published by Boosey & Hawkes.

Violin and orchestra

SKU: BO.B.3340

Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340).

ISBN 9788480207591.

English comments:
My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author

Comentarios del Espanol:
A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.

SATB choir, organ

SKU: LO.10-2778S

Composed by Gilbert M. Martin. Choral. Sacred Anthem, Holy Communion. Octavo. Sacred Music Press #10/2778S. Published by Sacred Music Press (LO.10-2778S).

UPC: 000308067286.

Clothed in a fresh, sweeping melody and gracious organ writing, the familiar Horatius Bonar lyrics flow gently and serenely throughout this captivating and elegant anthem, reflecting Jesus' final hours with his disciples in the Upper Room. From the composer's cantata Jesus Alone[55/1072S].

Composed by Giovanni Caramiello. Edited by Letizia Belmondo. Saddle stitching. Classical. Ut Orpheus #HS 270. Published by Ut Orpheus

Piano - Late Intermediate

SKU: FJ.H1022

Composed by Erik Satie. Edited by Edwin Mclean. Masterworks; Piano Collection. FJH Classic Editions. Masterworks. Book. The FJH Music Company Inc #98-H1022. Published by The FJH Music Company Inc (FJ.H1022).

ISBN 9781619282520. UPC: 241444396940. English.

Largely self-taught, Satie was considered an eccentric genius by his colleagues in Paris in the late 1890s. Beautifully engraved, this is an elegant, new edition of Satie's most serenely beautiful piano pieces. Photographs, short biography, notes about this edition and a translation of French terms are included.

Organ

SKU: SU.80101186

For Organ. Composed by Sandra Gay. Keyboard, Organ. Score. Zimbel Press #80101186. Published by Zimbel Press (SU.80101186).

This brief work was written in memory of poet Beth Rice Luttrell, and is highly suitable as an offertory or short prelude. Easy to play and serenely beautiful. 8 pages Published by: Zimbel Press.

Band concert band - Grade 2

SKU: CF.YPS258

Composed by William Harbinson. Set of Score and Parts. Carl Fischer Music #YPS258. Published by Carl Fischer Music (CF.YPS258).

ISBN 9781491163580. UPC: 680160922376.

Homeward is a lyrical ballad in ABA form. The composition presents few rhythmic challenges, allowing the ensemble to concentrate on beauty of sound, balance, dynamic nuance, phrasing, and expressive performance. The woodwind voices present the melody at the opening accompanied by a flute countermelody. Care should be taken to balance the two parts. The four-measure phrases call for tapered dynamics and freedom of the metric pulse at cadence points. A change of tempo and key, with a lean toward the minor mode, mark the contrasting B section (m. 9). Heed the dynamic markings that swell to a climax (m. 16) and then subside within this section. Take liberty to hold back the tempo at the percussion link to the forte restatement of A (m. 27) and the arrival of the fortissimo climax (m. 33). The coda (m. 35) should be presented slowly and serenely as the composition comes to a quiet close.