The music from Leonard Bernstein's landmark Broadway musical West Side Story has become an important part of our musical heritage. With lyrics by Stephen Sondheim these two songs create a powerful showcase for choral groups in schools and communities. Available for SATB SAB SSA Instrumental Pak (parts for Trumpet I

Wv 445/6. Par WAGENSEIL GEORG CHRISTOPH. Die Quartette nehmen im kammermusikalischen Schaffen Wagenseils eine Sonderstellung ein. Die dritte Sonate ist im Autograph enthalten§ sie trägt den Titel “Suite de(s) pieces” und ist mit 1764 datiert. / Niveau : 4/3/3/2 / Répertoire / Musique de Chambre

Vl Va Vc. Par WAGNER WOLFRAM. Das Streichtrio besteht aus einer Abfolge von sieben eher kurzen Sätzen unterschiedlichen Charakters, von lyrisch bis bewegt, von traurig bis fröhlich. Lamento und Arietta sind von melodischer Entwicklung geprägt, Präludium und die beiden Kanons von Kontrapunktik, wobei der zweite Kanon sich ähnlich einem der berühmten Zirkelkanons aus dem Musikalischen Opfer von J. S. Bach allmählich aus der Tiefe in die Höhe schraubt. Das Scherzo mischt Pizzicato-Spiel mit natürlichen Flageolett-Tönen, und das Finale ist eine einzige, von drängender Rhythmik durchpulste und virtuos zu spielende Steigerung. (Wolfram Wagner)/ Répertoire / Musique de Chambre

Wv 445/3. Par WAGENSEIL GEORG CHRISTOPH. Die Quartette nehmen im kammermusikalischen Schaffen Wagenseils eine Sonderstellung ein. Die dritte Sonate ist im Autograph enthalten§ sie trägt den Titel “Suite de(s) pieces” und ist mit 1764 datiert. / Niveau : 2 - 3/3/3/3 - 4 / Répertoire / Musique de Chambre

The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: The Dreamers for horn violin and piano is the sixth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrative complexity: Themes and motivs from one pieceappear in others in new and surprising shapes and combinations. Karen Blixen's THE DREAMERS has the most complex narrative structure of all her seven gothic tales. The story is made up of three tales with different narrators but with the same principal caracter in various disguises all three imbedded within a fourth tale that serves as a framework for the entire short story.The main story line unravels the life of a famous opera diva who looses her voice during a terrible fire. Before this her life was perpetual bliss and the tragedy drives her into assuming different personality guises in order to escape reality.Toward the end she is confronted with her true identity and dies.THE DREAMERS isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and settings - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression...except one might say that the three players try their best to either catch or escape each other and that when they finally meet it happens abruptly even tragically - and only barely provides a little consolation.

Gustav Holst's The Wandering Scholar a one-act chamber opera for Baritone Soprano Tenor Bass and Orchestra. Edited by Benjamin Britten and Imogen Holst. Full score and Orchestral parts are availble for hire. The Wandering Scholar Holst’s last opera was written in 1929-30 and was first performed in The David Lewis Theatre Liverpool in 1934 conducted by Dr. J. E. Wallace and produced by Frederick Wilkinson. This was a few months before Holst’s death and he was too ill to go to the performance. He had no chance to revise the score which has remained unpublished until now. He leftseveral pencil queries in the margins such as ‘Tempo?’ ‘More?’ ‘More harmony?’ etc. And in one of his note-books he left queries about several words in the libretto which he had doubts about. The editors have answered these queries by making some alterations in speed and dynamics and by suggesting metronome marks throughout the work. They have also made several alterations in the libretto which they feel that Holst might have made himself if he had had the chance to revise the work with his friend Clifford Bax.