SKU: PR.114424090

ISBN 9781491137383. UPC: 680160690107.

Stravinsky’s 1918 Three Pieces for Solo Clarinet has long been savored by clarinetists as a rare gem in the instrument’s repertory, full of rhythmic drive and Stravinsky’s jazzy neo-classicism. Composer and clarinetist Gregory M. Barrett’s remarkable adaptation for 3 clarinets is a tour de force, assimilating Stravinsky’s harmonic, rhythmic, and contrapuntal style to create a striking addition to the clarinet literature.
Igor Stravinsky’s Three Pieces for Solo Clarinet (1918) is a core work in clarinetists’ repertoire, and I havereimagined it for the convivial grouping of three players. The arrangement contains all of Stravinsky’soriginal, but now his solo line is shared among three in a new matrix of harmony, imitation, andcounterpoint.The molto tranquillo first piece develops from the emphasized C# in Stravinsky’s first measure andmoves to a somewhat somber mood when C# is revealed to be the dominant of F# minor. Withincreasing expansion of tessitura in the sustained harmonies, the sun comes out in the last phrase with ajoyous Eb major chord.The circus-like second piece finds the three clarinets whirling in the air in synchronized trapeze artiststyle. The emphasis is on imitation and fluid hand-offs. Chords with major 7ths and 2nds contrast withtriadic harmony. Following the cat and mouse middle section, where dancing patterns of twos andthrees alternate, the summit of the big top is reached again just before the players settle down to earthwith a welcome C major chord of respite.The ragtime burlesque of Stravinsky’s third piece is heightened by homophonic rhythm among the threeplayers. Each clarinet part has its own specialty. Clarinet 1 loves 32nd notes, Clarinet 2 shows off with fasttriplets, and Clarinet 3 likes the low notes and in general supporting its friends. Quartal harmony withstacked 4ths is emphasized, but where Stravinsky’s melody suggests triads, I have taken his hint. Thepropulsive rhythms are truly exciting, and with the wink of an eye, the music ends all too soon.

SKU: BR.EB-8899

ISBN 9790004185261. 9 x 12 inches.

Brahms, Reger and the consequences Adolph Busch had already emigrated to the United States when he wrote the A-Major Clarinet Sonata . Shortly thereafter he revised the work once again until it was completed in its final form in spring 1941. Busch, a brilliant and sought-after solo violinist of the 1920s and 30s, concertized regularly in England and had become friends there with the clarinetist Reginald Kells, to whom he also dedicated the piece in three movements. Demanding in its musical idiom and no doubt inspired by the expressive playing of his friend, the sonata evidences a strong proximity to the works of Brahms and Reger. A long and demanding piece, edited with great care - a valuable addition to the repertoire for A clarinet. (Luigi Magistrelli, The Clarinet).

SKU: CF.CM9792

ISBN 9781491164631. UPC: 680160923540. Key: A major. English. Coty Raven Morris. Original.

The text for Dust came to me in a season of reflection. As educators and mentors to the generations that come after us, we have a responsibility to provide tools so that others can shape their future. Overtime, it can become easy to lose one's personal vision for one's self when influenced by so many outside factors. When the pressure builds, it can almost feel like a self-reckoning; an opportunity to build ourselves again. Though we are influenced by our surroundings, we are all unique in our purpose and design!These questions of self-reflection came first:How much of me flows from their blood?How much of me is built of their flesh?How much of me is manifested from their dreams?And just like our own identities, the rest of the poem begin to take shape. I hope that this text speaks to you wherever you are in your discovery and journey to your most authentic self.DustI am rubbleCarved into my ruins, you will find my ancestry interwoven with my identityHow much of me flows from their blood?How much of me is built of their flesh?How much of me is manifested from their dreams?The only way to my truth is through my foundationI rage against those who would dare covet this sacred spaceI am the temple and the monumentThis is holy ground.I must demolish myself.Tear down the walls that have held up your visions and destroyed mine.I must restore myself in my own image.And when the dust settles, you can see my bones.Pillars of strength, marble, and earthWalls painted with my blood, cracked with time, polished like my skin(Golden)I will not be complete, but I will be homethe dust settlesAnd we build again—Coty Raven Morris      .

SKU: BR.PB-5354

Bach's manuscript leaves several questions unanswered.

ISBN 9790004211533. 9 x 12 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

Bach's manuscript leaves several questions unanswered.

SKU: BR.OB-5354-19

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337851. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: BR.OB-5354-16

Bach's manuscript leaves several questions unanswered.

ISBN 9790004337844. 10 x 12.5 inches.

When an editorial formula proves to be as compelling as in the case of the E-major Concerto BWV 1042, then its obvious that it is going to be applied again: this time to Klaus Hofmanns new Urtext edition of the A-minor Concerto. Bachs manuscript leaves several questions unanswered. The slurring, particularly in the solo part, is once again equivocal and inconsistent. Bach himself expected his performers to be creative, which is why the interpretative suggestions of Baroque expert Sigiswald Kuijken are particularly welcome. The edition for violin and keyboard instrument (with continuo ad lib.) once again contains three violin parts (the first unmarked, the second with markings and comments by Sigiswald Kuijken, the third as a facsimile). This provides well-grounded stimuli for ones own personal interpretation based on historically informed performance practice. The keyboard arrangement by Siegfried Petrenz is transparent and easy to play. A violoncello part has been added for chamber-music.

SKU: CF.YPS215

ISBN 9781491152348. UPC: 680160909841. Key: Bb major.

Beyond the Crest is an exciting piece that captures the essence of Sean O'Loughlin's popular style. The piece opens with a slow, soaring melody that develops throughout the composition. Pulsating eighth notes build the tension and intense harmonies drive the piece to a satisfying and dynamic ending.
Beyond the Crest was commissioned by the Lakeshore Bands of Stevensville, Michigan, and dedicated to Philip and Cindy Huff, Directors of Bands, in honor of their retirement. The piece captures the excitement and achievement that defined Philip and Cindy Huff's illustrious careers. The piece opens with a slow, soaring melody that will become the basis of the entire composition. It builds to an intense chord at m. 13 that sets off into the fast section at m. 14. This section begins with some eighth-note pulses. The woodwinds have more eighth notes than the rest of the ensemble to create an echo effect. Bring out the dynamics to highlight this. The main melody comes in at m. 33, which is a faster version of the opening melody. It is complimented by some eighth-note punches and lush chords. The woodwinds take over at m. 43 with a much broader accompaniment in the lower voices. The lower voices get their chance at the melody at m. 54. The echo effect returns at m. 68 to start the cycle over again but this time with some new wrinkles. Measure 77 transports to a new tonal center and then brings it back to a broad presentation at m. 85. The eighth notes return to bring the piece to an exciting end.

SKU: CA.2718803

ISBN 9790007250911. Language: LAT/EN/DT.

After Missa Latina and Magnificat, Te Deum is now the third major composition by musician and composer Karl Albrecht “Bobbi” Fischer published by Carus. Fischer’s musical roots lie in classical music, which he combines with jazz elements and Latin American rhythms.

All three styles appear in the Te Deum. In keeping with the proclamation “Te Deum laudamus” (We praise thee, O God), the work begins with the festive (Cuban) energy, propelled by timpani and trumpet; the choir can also be heard imitating fanfares. Later, a cappella choruses become a recurring element, in which phrases set as Gregorian chant are presented against an ever-changing chordal background. But the score also features elements of swing and rhythm & blues, frenetic choral outbursts of joy, as well as moments of mystic contemplation. Moreover, the instrumentalists are given ample opportunity for improvised solos. Interwoven into the otherwise Latin text is the well-known German chorale Großer Gott, wir loben dich. Here several verses can be sung with the congregation; alongside the original German text, the score features the English translation “Holy God, we praise thy name”.

- An exciting combination of classical choral music with elements of jazz and Latin American music

- The congregation can take part in the performance (chorale)

- Singers can choose between Latin/German or Latin/English

- Varied mix of styles

- An enrichment of our crossover program

SKU: CF.CM9777

ISBN 9781491164488. UPC: 680160923380. Key: Bb major. English. Marjorie Pickthall.

Text: excerpt from Brading by Marjorie PickthallHere, where the legions parted; Here, where the shields were laid, Wild orchid, honey-hearted, Grows in the wind-swept shade.Here, where the soldiers rested; Here, where they set their spears, The little larks, brown-breasted, Fall down like falling tears.Here, where the swords came after; Here, where the ships went by,The sea-winds send their laughter Between the downs and the sky.Program note:Between the downs and the sky is a meditation on the text and the notion of here. Reflective and commemorative in nature, the poem speaks to themes of remembrance and our shared connections to humanity translated through the natural world. Pickthall pairs anthropomorphized images of nature against the impacts of human violence and strife.I am drawn to the location-less setting of “here”. We are left with a certain placeless-ness in the poem. “Here” could mean anywhere and everywhere; it could also mean right in front of us in this exact moment. “Here” is also a call to attention, here where we witness, where we notice, where we are called to. Here, where we love, where we mourn, where we hope to become whole.Musically, “here” is metamorphosed through various ostinati gestures as if to depict memory, reflections, echoes which reverberate long after the initial source, a heart beat, relentless waves pounding shores, etc. The work also juxtaposes extreme high and low registers particularly in the piano writing to capture the title image of the “here” found in-between the downs and the sky.The work moves in and out of unison, two part, and optional three part writing; from m. 45 to the end, the middle line baritone part is completely optional. The music functions the same with or without the inner voice part. This is done to aid in the accessibility of the work, to make the music as approachable and successful to groups of all abilities.