By Domenico Scarlatti; Helenclair Lowe. For unison voices. Select Voices. Sacred. Sacred Anthem. Published by Chorister's Guild.

Selected and edited by Denes Agay. Book. Published by Music Sales. This fine collection contains time-honored shorter piano works by the masters of the 18th and 19th centuries from Scarlatti and Purcell to Brahms and Tchaikovsky. In addition to the well-known miniatures, some rare and interesting pieces are included. All pieces are in their original forms

(174 Favorite Piano Pieces by 44 Composers). Composed by Various. For Piano Solo. Misc. 326 pages. Published by Hal Leonard

Voice; Early Music (Violin I [3], Violin II [3], Cello [2], Basso continuo)

SKU: UT.MS-40B

Composed by Alessandro Scarlatti. Edited by Maria Luisa Baldassari. Saddle stitching. Classical. Set of Parts. 116 pages. Ut Orpheus #MS 40B. Published by Ut Orpheus (UT.MS-40B).

ISBN 9790215314924. 9 x 12 inches.

Alessandro Scarlatti ventured four times with the Salve Regina text, of which he draws compositions for various ensembles. The treatment of the text in this version obeys to the usual practice for the motets of a certain length: the antiphon is divided into ‘numbers’ of contrasting character alternatively entrusted to the duet and to the solos. In line with the modern style, Scarlatti choose to not emphasize the most remarkable moments of the text, but instead to provide an internal coherence to each section, keeping the expressive expedients to enhance a few elements and relying instead upon an harmony and melody rich writing and upon the virtuosity of the vocal parts.
The present edition is based on the manuscript kept at the Biblioteca del Conservatorio S. Pietro a Majella of Naples, compared to the 19th Century copy, less precise, that is part of the Noseda Fund of the Biblioteca del Conservatorio in Milan. The Napolitan drafting appears very meticulous, particularly in respect to the dynamic marks and expression marks (such as staccatos, slurs etc.) that lay out an execution full of contrasts and unexpected dynamic changes.

Guitar - Intermediate

SKU: MB.WBM58M

Traditional, Wire bound, Celtic. Folk. Book and online audio. 216 pages. Mel Bay Publications, Inc #WBM58M. Published by Mel Bay Publications, Inc (MB.WBM58M).

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

35 Pieces for Piano Solo on the Quirky Side. By Various. Boosey and Hawkes Piano. 56 pages. Published by Boosey & Hawkes.

Chamber Music harp

SKU: PR.110406720

Composed by Samuel Adler. Classical. Softcover. With Standard notation. Duration 14 minutes. Theodore Presser Company #110-40672. Published by Theodore Presser Company (PR.110406720).

UPC: 680160001316.

I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler.

Guitar Solo. By Various. Arranged by Theodore Norman. Guitar Collection. Size 9x12 inches. 40 pages. Published by G. Schirmer, Inc.