Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Flute 1, Flute 2, Flute 3, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1, alto Saxophone 2 and more.

SKU: PR.115402070

For Concert Band. Composed by Valerie Coleman. Sws score. Contemporary. Set of Score and Parts. With Standard notation. 4+24+24+24+4+4+4+24+24+24+16+8+8+4+4+4+4+4+8+8+8+8+4+4+4+4+8+8+8+4+4+12+4+8+4+4+4+4+40 pages. Duration 7 minutes. Theodore Presser Company #115-40207. Published by Theodore Presser Company (PR.115402070).

ISBN 9781598063103. UPC: 680160596164. 9 x 12 inches. Key: G minor.

A nation without a country is the best way to describe the nomadic tribes known as gypsies, or properly called, the Romani. Their traditions, their language (Roma), legends, and music stretch all over the globe, from the Middle East, the Mediterranean region, and the Iberian peninsula, across the ocean to the Americas. Commissioned by the CBDNA, ROMA is a tribute to that culture, in five descriptive themes, as told through the eyes and hearts of Romani women everywhere: “Romani Woman,” “Mystic,” “Youth,” “Trickster,” and “History.” The melodies and rhythms are a fusion of styles and cultures: Malagueña of Spain, Argentine Tango, Arabic music, Turkish folk songs, 3/2 Latin claves, and Jazz).

Soli SATB, SATB Choir, 4 Tr, 3 Trb, Vl solo, Arpa, Org (statt Blaser alternativ Pfte, Org)

SKU: CA.2709649

Composed by Charles Francois Gounod. Edited by Barbara Grossmann. Organ. Sacred vocal music, Mass sections. Single Part, Organ. CG 74. 28 pages. Duration 35 minutes. Carus Verlag #CV 27.096/49. Published by Carus Verlag (CA.2709649).

ISBN 9790007239879. Language: Latin.

Gounod's Messe a la memoire de Jeanne d'Arc was composed in 1887 for a festive mass in Reims to commemorate the arrival of the national heroine in the city on the occasion of the coronation of Charles VII in 1429. Performed a cappella or only accompanied by an organ, vast stretches of the work are in an archaic style in the tradition of Palestrina. The royal procession into the cathedral is conveyed in the splendid Prelude at the beginning, which was performed at the premiere by eight trumpets, three trombones, and organ. In the performance material, the present edition also offers a version of the movement for piano and organ. For the Offertoire, Gounod composed a cantilena for violin and organ (or piano), which is also included in the edition, as a Vision of Jeanne d'Arc. Score and part available separately - see item CA.2709600.

Orchestra SATB vocal soli, SATB/SATB choir, 2 orchestras: 2 oboes, 2 trumpets, 2 violins, viola, basso continuo, [timpani] - Grade 4

SKU: CA.4000712

Composed by Antonio Vivaldi. This edition: urtext. Stuttgart Urtext Edition: Vivaldi-Archiv. German title: Dixit. Sacred, Cantatas, Motets; Stuttgart Urtext editions; Occasions: Daily hours; Use during church year: Epiphany. Single Part, Choir 1: Violin 2. RV 594. 12 pages. Duration 25 minutes. Carus Verlag #CV 40.007/12. Published by Carus Verlag (CA.4000712).

ISBN 9790007057619. Language: Latin/English.

Dixit Dominus (Ps 109), a psalm setting for double choir, is one of Vivaldi's most significant sacred works. In it, he takes up the old Venetian polychoral tradition, combining its compositional techniques with those of the instrumental concerto, the cantata and the opera. The broadly conceived cycle of movements, consisting of eight psalm verses and the doxology, is characterized by an expansive arch of tonalities connecting the two framing outer movements in D major (these are also thematically related): Dixit Dominus and Gloria Patri. The contrasting and varied inner movements are perfect examples of Vivaldi's skill in vividly portraying linguistic figures in music. Score and part available separately - see item CA.4000700.

String quartet

SKU: BO.B.3542

Composed by Domenec Gonzalez de la Rubia. Published by Editorial de Musica Boileau (BO.B.3542).

Staeliana was commissioned by the Fundacio Caixa de Catalunya in 2007 for the inauguration of an exposition of the work of Nicolas Staël at La Pedrera, Barcelona. In this work I wanted to compose homage to a painter who knew how to join together in his unique works both the traditions of the past along with the vanguard of his time. Beginning with figurative works which lead toward abstraction, his body of work can be defined as a contrast between these two concepts which, with extreme simplicity, define his entire artistic conception. Staeliana, an expressive chorale, at times both luminous and dramatic, dissolves into the most minimal expression. From the first joining together of the voices it concludes with utter simplicity of expression. The suicide of the artist in 1955 is representative of the dissolution of his existence as well as of his artistic works. This contrast between figurative and abstraction is reflected in the music by the contrast between stability and tension. I believe that this duality may be found both in his work and in his life, always oscillating between living a creative life or opting for death, which may be seen as a fusion in nothingness with the plenitude of purest simplicity.

By Greg Gilpin. For Choir. (2-Part). Choral Octavo. Choral Designs. Choral Octavo. 12 pages. Published by Alfred Publishing.

(The Complete Jazz Keyboard Method) Written by Noah Baerman. Instructional book and examples CD for keyboard. Series: National Keyboard Workshop. 95 pages. Published by Alfred Publishing.

Composed by Carl Vine (1954-). Piano Collection; Piano Supplemental. Book. Faber Music #12-0571542212. Published by Faber Music

Beginning Jazz Keyboard. Composed by Noah Baerman. Book; DVD; Digital Download; Keyboard/Piano; Method/Instruction. Complete Method. Jazz. 96 pages. Published by Alfred Music (AP.45921).

Oboe(s) solo

SKU: BR.EB-9240

For Solo Oboe. Composed by Jorg Birkenkotter. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Music post-1945; New music (post-2000). Score. Composed 2013/14. 16 pages. Duration 13'30. Breitkopf and Haertel #EB 9240. Published by Breitkopf and Haertel (BR.EB-9240).

ISBN 9790004185407. 9 x 12 inches.

Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).