(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Didone abbandonata- Scena tragica. By Muzio Clementi. Edited by Paul Mies. Piano (Harpsichord), 2-hands. Pages: 31. Urtext edition-paper bound. Published by G. Henle.

Composed by Wolfgang Amadeus Mozart (1756-1791), edited by Wolfgang Plath, Wolfgang Rehm. Collection for solo piano. Urtext of the New Mozart Edition. 142 pages. Published by Baerenreiter-Ausgaben (German import). ISBN M006457663.

Piano

SKU: BT.BWHBRM7813

Arranged by Hans Gunter Heumann. Piano Gefällt Mir! Classical. CD Only. Composed 2016. Bosworth & Co. #BWHBRM7813. Published by Bosworth & Co. (BT.BWHBRM7813).

German.

The accompanying CD for Hans-Günter Heumann 's Piano Gefällt Mir! Classics , featuring demonstrations of all the tracks in the book, this is a wonderful way to improve your playing and easily learn the pieces.

Collection for solo piano. Series: The World's Great Classical Music. 256 pages. Published by Hal Leonard.

Chamber Music Piano, Viola

SKU: PR.114412490

For Viola and Piano. Composed by Martin Amlin. Classical. Set of Score and Parts. With Standard notation. Composed 1987. 28+12 pages. Duration 13 minutes. Theodore Presser Company #114-41249. Published by Theodore Presser Company (PR.114412490).

ISBN 9781491113011. UPC: 680160018048. 8.5 x 11 inches.

SONATA for Viola and Piano was written for Patricia McCarty and premiered by her and the composer in 1987. All three movements are unified by a recurring six-note pattern (C-E(-B(-F-G-B() used throughout as a basis for the repetitive harmonic plan of the Chaconne, as a nostalgic reminiscence in the Interlude, and as a thematic element for a mixed-meter hoedown in the Rondo.
Martin Amlin's SONATA for Viola and Piano was written for Patricia McCarty and premiered by her and the composer in 1987.  All three movements are unified by a recurring six-note pattern (C-Eb-Bb-F-G-Bb) which is used throughout the piece as a basis for the repetitive harmonic plan of the Chaconne, as a nostalgic reminiscence in the Interlude, and as a thematic element for a mixed-meter hoedown in the Rondo.

By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

By ABRSM. For piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

Euphonium & Piano (Organ) or CD Play Back / Play Along - Grade 4+

SKU: MA.EMR-57300

Composed by Antonio Vivaldi. Arranged by John G. Mortimer. Score and parts. Duration 14'40. Editions Marc Reift #EMR 57300. Published by Editions Marc Reift (MA.EMR-57300).

Bb Major.

Tuba & Piano (Organ) or CD Play Back / Play Along - Grade 4+

SKU: MA.EMR-57304

Composed by Antonio Vivaldi. Arranged by John G. Mortimer. Score and parts. Duration 14'40. Editions Marc Reift #EMR 57304. Published by Editions Marc Reift (MA.EMR-57304).

Bb Major.

Piano

SKU: BT.SCHBB101785

Composed by Hans Schaeuble. Book Only. 24 pages. Bote & Bock #SCHBB101785. Published by Bote & Bock (BT.SCHBB101785).

Piano. Schaeuble, H.

(Five Concertos After Vivaldi And Others / Two Sonatas, Fugue After Reinken) Composed by Johann Sebastian Bach (1685-1750), edited by Karl Heller. For piano (or harpsichord). Urtext of the New Bach Edition. Format: piano solo book. With introductory text. Baroque. 77 pages. 9x12 inches. Published by Baerenreiter-Ausgaben (German Import).

Chamber Music flute, piano

SKU: PR.114422710

Composed by Charles Gibb. Set of Score and Parts. 44+8 pages. Duration 24 minutes. Theodore Presser Company #114-42271. Published by Theodore Presser Company (PR.114422710).

ISBN 9781491136072. UPC: 680160688227.

DUO’s succinct movement titles (I. Here, II. Open, III. Stark, IV. Ardent) tease at revealing the grand and heartfelt inspiration for exuberant romanticism in this sonata-like work of symphonic proportions and depth. Charles Gibb is both an accomplished pianist and an award-winning flutist, who has written of this compelling major addition to the literature: “This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.” Gibb’s DUO is sure to become a favorite major work for flute recitalists.
This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.“Here” begins with three notes that shape the rhythmic and harmonic content of the entire work. Melodies and harmonies including the tonic, dominant, and leading tone can be found in each of the four movements. The first moments of this movement introduce the melody, offering itself unencumbered and uninhibited. It shows itself as it is. The melodies soar, the harmonies become voiced more intricately, and the opening theme repeats in full grandeur. The momentum slows down, and the movement ends with a sense of completion, yet remains unbalanced.A striking piano gesture launches “Open,” the idea of instability reflected with the flowing flute trills and unclear meter patterns in the piano. The sensation of an unsteady grace in 5/8 time arrives with a piano ostinato. The melody is expressive, yet insecure and unbalanced due to changing meters. After a grand pause, the movement transitions to 4/4 time with the flute switching between duplet and triplet flourishes. After a rapid descent in the flute, the opening gesture returns, changed and abruptly interrupted.The third movement, “Stark,” is very static, beginning plainly but markedly. The falling fifth calls out continually throughout the movement, searching, lost. Melodies appear in pieces, some smooth and flowing, others rather disjunct. The piece climaxes with a line of mournfulness, yet revealing a deeper strength through intense projection of tone in the high register. However, the static harmonies return, this time unsteady all the way to its foundation. This destabilization repeats, and then quietly recedes.“Ardent” is the longest of the movements and spans a wide range of musical emotion. Part of the movement is fast paced, energetic, and balances order and disarray. However, once the chaos dies down, a gentle, expressive theme comes in. The theme itself is very resolute; it is order appearing from the pandemonium. Conflict returns, and order and chaos become less distinguishable from one another, and soon fuse together. However, order returns with new meaning, synthesized with previous musical content, creating a truer, deeper sense of awareness or understanding. A moment of ambiguity arises, but the flute persists, supported by the sensitive but firm figuration in the piano, and resoundingly comes to a close, unburdened and at ease.

For Alto Saxophone and Piano. Composed by Stephen Lias (1966-). National Park Series. Nathan Nabb, Saxophone, and James Pitts, Piano. Score and part(s). With Standard notation. Composed 2014. 60 pages. Duration 25 minutes. Alias Press #494-03096. Published by Alias Press