By John Coates, Jr. and Roger Whittaker. For Choral (SAB). Shawnee Press. Choral, General Repertory, Secular, Contest/Festival Music, Brotherhood. 8 pages. Shawnee Press #D0317. Published by Shawnee Press

Choral

SKU: HL.8773307

Alliance Choral Series. Softcover. 4 pages. Alliance Publications #AP4127VC. Published by Alliance Publications (HL.8773307).

UPC: 196288124122. 8.5x11.0x0.041 inches.

Arranged by Audrey Snyder. (Showtrax CD). Choral. Festival. CD only. Size 5x5.5 inches. Published by Hal Leonard.

Arranged by Audrey Snyder. (2 Part Any Combination). Choral. Festival. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

2-Part Choral (2PT)

SKU: HL.348707

Composed by Johann Sebastian Bach. Arranged by Russell L. Robinson. Shawnee Press. Concert, Contest, Festival, Latin. Octavo. Duration 135 seconds. Published by Shawnee Press (HL.348707).

ISBN 9781540097774. UPC: 840126931426. 6.75x10.5x0.016 inches.

A beautiful choral based on Bach's “Siciliano” flute sonata with simple Latin text of three words. Suitable for concert, contest, and festival, various age groups.

Exigence. Arranged by Lhente- Mari Pitout. Exigence Choral Series. Concert, Festival, Solos, Sonata. Octavo. 16 pages. Published by Mark Foster Music

Composed by Franklin Ashdown (1942-). Transfiguration. Octavo. Published by Paraclete Press (PL.1661).

By Cathy Blair. Unison, small percussion, accompaniment cd. Gen mus. Published by Heritage Music Press.

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

Piano

SKU: BR.EB-8118

Composed by Richard Wagner. Solo instruments; Softcover. Edition Breitkopf. Sonata; Romantic. Score. Composed 1831. 24 pages. Breitkopf and Haertel #EB 8118. Published by Breitkopf and Haertel (BR.EB-8118).

ISBN 9790004175019. 9 x 12 inches.

Richard Wagner (1813-1883) is rightly considered as the 19th-century music dramatist whose formal and harmonic originality, for example in Tristan and Isolde, provided a significant impetus to the development of 20th-century music. Despite Wagner's fame, his reuvre for piano remains practically unknown. Tobe sure, these primarily early works and occasional compositions hardly even hint at the outstanding characteristics of the later works such as leit-motifs, flowing transitions or original forms. Nonetheless, whoever is acquainted with Wagner's later music dramas will undoubtedly not fail to be impressed by the individual melodic and harmonic traits of his piano works. The Sonata in B-flat Major Op. 1 is of special interest to us today since it is Wagner's first published work, composed in 1831 and printed in 1832 by Breitkopf & Hartel. At that time, Wagner was studying counterpoint with Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig. Weinlig, however, only agreed to give Wagner lessons if he promised to refrain from composing for half a year. In the course of his studies, Wagner was allowed to compose the piano sonata in B-flat Major as a kind of journeyman-work. His teacher Weinlig succeeded in having the work published by Breitkopf & Hartel. Hence the dedication of this piece to Weinlig is not surprising, since the 18-year-old Wagner would otherwise have had great difficulty finding a publisher. This Sonata in B-flat Major, which has long been out of print, is a reproduction of the first edition by Breitkopf & Hartel (plate number 10433). For this reprint, obvious typographical errors have been corrected (missing or wrong accidentals and dynamic indications). The work presents a four-movement classical sonata form and is stylistically reminiscent of Mozart and Beethoven. Shortly before composing this sonata, Wagner wrote a piano reduction of Beethoven's Ninth Symphony, which was easily playable and yet gratifying to hear. This helps explain the octave-doublings typical of piano reductions. Wiesbaden, Fall 1980

Respectfully dedicated to Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig.

Harpsichord

SKU: FG.55011-499-9

Composed by Jyrki Linjama. Fennica Gehrman #55011-499-9. Published by Fennica Gehrman (FG.55011-499-9).

ISBN 9790550114999.

Sonata da chiesa III was commissioned by Petteri Pitko, who played the first perfor-mance in Kemionsaaren Musiikkijuhlat in the summer of 2016. The sonata has three movements, each of which has a definite liturgical character and a choral tune as a can-tus firmus. Hence the music can be performed either in a concert or as a part of liturgy.

From the composer's foreword: The first movement, Kyrie, has got an introvert mood. The choral melody is veiled, an indirect part of arpeggiated texture. The Gloria is open, even brilliant: the cantus firmus is worked out to a virtuosic, dance-like texture. The third movement closes the music by means of polyphony and bird singing. Concerning the harpsichord, for me it is essen-tial not to use equal temperament: the possibility to play with pure or almost pure in-tervals is crucial to the sound, having very high and strong overtones.

Duration c. 12'.