2 flutes and harp

SKU: M7.BP-1880

Composed by Claude Debussy. Edited by Edmund Wachter and Elisabeth Weinzierl. Arranged by Edmund Wachter and Elisabeth Weinzierl. Sheet music. Score and parts. Amadeus Verlag #BP 1880. Published by Amadeus Verlag (M7.BP-1880).

ISBN 9790015188008.

Arranged by Edmund J. Siennicki. Arr. Edmund Siennicki. For string orchestra. String Orchestra. Strictly Strings Series. Conductor Score and Parts. Published by Alfred Publishing.
Level: 2 (grade 2).

Virtuoso and Entertaining Pieces for Flute and Piano. Composed by Various. Edited by Edmund Waechter and Elisabeth Weinzierl. Woodwind. Softcover. Schott Music #ED23309. Published by Schott Music

Voice (Music For Voice)

SKU: HL.48182913

Composed by Edmund Pendleton. Leduc. Softcover. Alphonse Leduc #AL24665. Published by Alphonse Leduc (HL.48182913).

Pendleton 20 Canons A Chanter Ou A Jouer Volume 1 Voice & Recorder Bk.

By J. Edmund Hughes. For SATB. Choral music. Level: Medium. Published by Santa Barbara Music Publishing. (SBMP 54)

Voice

SKU: HL.14040133

Composed by Edmundo Zaldivar. Music Sales America. Book Only. Editions Musicales Transatlantiques #ETR000229. Published by Editions Musicales Transatlantiques (HL.14040133).

French.

SKU: HL.49014460

Composed by John Horton. Edited by John Horton. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Student book. 86 pages. Schott Music #ED 11131-01. Published by Schott Music (HL.49014460).

ISBN 9790220129674. English.

Chorus (with soloists) and piano (solos: MezTTTBarBarB - choir: SATTBB - 3(3picc)3(cor ang).3(B-clar).3(dble bsn) - 4.3.3.1 - timp.perc - hp - cel.org - str - stage music: 1.2.2.2 - 2.2.corn.0.0 - timp.perc(2) - pno - db - low bell)

SKU: BR.EB-9432

Musical-phantastic Comedy in 3 Acts with a Postlude. Composed by Ferruccio Busoni. Choir. Edition Breitkopf. Opera; Music theatre; Early modern; Late-romantic. Piano/Vocal Score. Breitkopf and Haertel #EB 9432. Published by Breitkopf and Haertel (BR.EB-9432).

ISBN 9790004189092. 0 x 0 inches.

Duration: full evening Text by the composer basesd on E.T.A. Hoffmann's tale of the same name from Serapionsbrudern Translation: ital. (G. Trampus), La sposa sorteggiata Place and time: Berlin, um 1820 Characters: Der Kommissionsrat Voswinkel (baritone) - Albertine, his daughter (mezzo-soprano) - Thusman, Freier (tenor) - Edmund Lehsen, paintor, Freier (tenor) - Baron Bensch, Freier (tenor) - the goldsmith Leonhard (baritone) - the jew Manasse (bass) - the valet Voswinkels - crowd, a Chancre (silent parts) In Busoni's musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer's compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was invention in every bar, and assigned an important role to the use of music from other sources: the Hebrew march from Rossini's Mose, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann's serapiontic principle and came closer to his idea of a timeless world music without borders.

SATB choir

SKU: ST.EM27

Composed by Richard Carlton. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Choral Score. Stainer & Bell Ltd. #EM27. Published by Stainer & Bell Ltd. (ST.EM27).

ISBN 9790220203428.

A minor canon of Norwich Cathedral, Carlton belonged also to the older generation of madrigal composers, particularly fond of the 'Byrd' or English cadence of flat versus sharp leading-notes. Although he claims to have laboured 'somewhat to imitate the Italian style', he admitted in his preface, 'I cannot forget that I am an English man.'

CONTENTS
All creatures then (SSATB)
Calm was the air (SSAT (or A) B)
Content thyself with thy estate (SAATB)
Even as the flowers do wither (SSATB)
From stately tower (SSATB)
If women can be courteous (SSATB)
Let every sharp (SSATB)
Like as the gentle heart (SSATB)
Nought is on earth (SSATB)
Nought under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes (SSATB)
So whilom learned (SSATB)
The heathen Gods for love (SA (or T) A (or T) BB)
The love of change (SSATB)
The self-same things (SS (or A) ATB)
The witless boy (SSATB)
When Flora fair (SSATB)
Who seeks to captivate (SAATB)
Who vows devotion (SSATB)
With her sweet locks (SSATB)
Ye gentle ladies (SSATB).

SATB choir

SKU: ST.EM4

Composed by Thomas Morley. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Choral Score. Stainer & Bell Ltd. #EM4. Published by Stainer & Bell Ltd. (ST.EM4).

ISBN 9790220211263.

CONTENTS
About the maypole (SATTB)
Dainty fine sweet nymph (SSATB)
Fire, fire my heart (SST (or A) TB)
I love, alas, I love thee (SAABB)
I saw my lovely Phillis (SSATB)
Lady those cherries plenty (ST (or A) TTB)
Leave alas this tormenting (SSATB)
Lo she flies (SSATB)
My bonny lass she smileth (Questo dulce sirena) (SAATB)
My lovely wanton jewel (SSATB)
No no Nigella (SSATB)
Now is the month of Maying (SATTB)
Phillis I fain would die now (Dialogue SSAATTB)
Shoot false love I care not (SSATB)
Sing we and chant it (A lieta vita) (SSATB)
Singing alone (SAATB)
Those dainty daffadillies (SAT (or A) BB)
Thus saith my Galatea (SSATB)
What saith my dainty darling? (SSAA (or T) B)
Why weeps alas (SATTB)
You that want to my pipes sound (SSATB).

(75 Hits from the Golden Era of Top 40 (Guitar TAB)). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. The Guitar Collection. Pop; Pop/Rock; Rock. 256 pages. Published by Alfred Music

Bass clarinet duo and clarinet choir

SKU: P2.30107

Composed by Jonathan Russell. Chamber music, 20th century. Published by Potenza Music (P2.30107).

Composer Jonathan Russell writes, My basic idea when I conceived of the Bass Clarinet Double Concerto was the Weber Clarinet Concertos meet heavy metal music. On the one hand, I have spent many hours over the years practicing Weber's clarinet concertos and have always enjoyed the over-the-top virtuosity and flashiness of these pieces. On the other, I have been a fan since middle school of Guns N' Roses, Metallica and other hard rock and heavy metal bands, and I already channel heavy metal through the bass clarinet as a member of the Edmund Welles bass clarinet quartet. When it came to writing a bass clarinet double concerto, it thus seemed logical (to me) to try and combine the heaviness and raw power of heavy metal with the dancing virtuosity and lyricism of Weber's concertos... The piece was composed for my bass clarinet duo Sqwonk, and was premiered in December 2007 by Sqwonk and the San Francisco Composers' Chamber Orchestra..

Voice & Piano

SKU: ST.LS14

Composed by Francis Pilkington. Edited by Edmund H Fellowes. Vocal music. Edited by E H Fellowes. Revised by Thurston Dart. With Lute Tablature. Vocal score. Stainer & Bell Ltd. #LS14. Published by Stainer & Bell Ltd. (ST.LS14).

ISBN 9790220212567.

CONTENTS
Alas fair face (F sharp - E)
Ay me, she frowns (F - G)
Beauty sat bathing (D - F)
Can she disdain? (E - E)
Climb O heart (D - F)
Come, come all you (D - E)
Diaphenia, like the daffdowndilly (D - D)
Down a down thus Phyllis sung (D - D)
I sigh as sure to wear the fruit (E - E)
Look mistress mine (F sharp - F)
Music dear solace to my thoughts (D- F)
My choice is made (D - F)
Now let her change (E - F)
Now peep, Bo Peep (E - F)
Pavan for the lute and bass viol
Rest sweet nymphs (G - F)
Sound woeful plaints (D - D)
Thanks gentle moon (D - E)
Underneath a cypress shade (F - F)
Whither so fast? (E - E)
With fragrant flow'rs (D - E flat)
You that pine in long desire (E - E).

Bass flute solo

SKU: P2.10020

Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.10020).

The first part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The journey to the underworld is a solo undertaking of the self, towards the unknown, yet still rooted within. The low bass tones invoke mystery and point the direction. As an explorer, licensed teacher of and composer for the shakuhachi (an ancient Zen flute crafted from the thicker root-end of bamboo) I have become initiated into the sense-characteristics of playing a flute that has actual roots as part of its structure. Physically this changes the balance, sonically it presents certain deepening qualities, and aesthetically it alters your connection to the dead and dried piece of nature. I have composed 27 solo pieces and etudes for Taimu (a very thick, bass variant on the traditional shakuhachi flute) and tapped into the same dense, slow, timbral approach for this movement. However, the chromatic, metal, modern bass flute offers a whole new set of possibilities and so the movement explores a wide realm of sounds and tempos. Being rooted in the actual ground is an appropriate starting point for the underworld exploration of the whole suite that only goes deeper from this point downwards. The primacy of the root pitch in tonal music is another contributing facet to the root aspect of this title.