For violin. Format: violin solo book (excerpts only). Baroque, Classical Period and Romantic Period. 64 pages. 9x12 inches. Published by Music Sales. (MS.AM84153) A selection of all the best-known tunes and themes in the classical repertoire, carefully edited for violin solo. Includes works by Mozart, Bach, Beethoven, Chopin and many more great composers.

Flute & String Orchestra (or String Quartet) String Quartet parts

SKU: SU.92102041

For Flute & String Orchestra (or String Quartet) String Quartet parts. Composed by Jerome Moross. Strings, String Ensemble, Chamber Music, String Trio/Quartet/Quintet. Part. Subito Music Corporation #92102041. Published by Subito Music Corporation (SU.92102041).

Flute; String Quartet (or String Orchestra) Duration: 24' Flute Part: availble for sale (#92102046) Piano Reduction: available for sale (#92102045) Full Score & Parts: available on rental Composed: 1983 Published by: Sarom Editions.

(Easy Piano Solo). By Various. For Easy piano. Music Sales America. Classical. Softcover. 160 pages

(Quintet for Trumpet and Strings). By Eric Ewazen. For Trumpet, String Quartet. Southern Music. Grade 5. 152 pages. Southern Music Company #SU397CO. Published by Southern Music Company

A Journey Through the History of Classical Music. Arranged by Nico Dezaire, Robert van Beringen. De Haske Play-Along Book. Book and CD Package. Size 9x12 inches. 28 pages. Published by DeHaske Publications.

By Janet Vogt. For piano. Mastering Melodies. Level: Level 2. Educational piano collection. Published by Heritage Music Press. (70/1282H)

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

Organ & Strings

SKU: SU.80101415

For Organ & Strings. Composed by Carson Cooman. Keyboard, Organ, Strings, String Ensemble. Score & Parts. Zimbel Press #80101415. Published by Zimbel Press (SU.80101415).

Set of score, organ part, and one set of string parts (quintet)additional string parts for orchestra available (Cat. No. 80101416)Overture concertante (2018) is, as the title suggests, an overture with a concerto-like character. The music begins with a slow theme in dotted rhythms in the manner of a traditional baroque overture. The faster music that follows begins first with the organ alone, employing a basse de trompette texture (the organ's trumpet stop sounding in the bass register). This is soon answered by a bright, melodic theme in the strings. The interplay of these three main ideas is developed across the rest of the piece. Instrumentation: Organ & Strings Duration: 6' Composed: 2018 Published by: Zimbel Press.

Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales

Solo horn

SKU: P2.70019

Composed by Michael Kibbe. Solo music. Published by Potenza Music (P2.70019).

These five variations are on an original tune of two contrasting parts. The work was composed for a horn player friend, Alan Grant, who performed the premiere. It is quite a challenging piece, I have been told!
- Michael Kibbe
Michael Kibbe, composer, has a total creative output is over 220 concert works, including two string quartets, 13 wind quintets, a large variety of mixed chamber music for winds, strings, brass, harp, keyboards and percussion. His catalogue includes works for band, orchestra and concertos. Kibbe's compositions have been performed throughout the United States, Mexico, Europe, Israel and China.