Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

C Edition. Fake Book (Includes melody line and chords). Size 6x9 inches. 864 pages. Published by Hal Leonard.

Fake Book (Includes melody line and chords). Size 6.7x10.5 inches. 640 pages. Published by Hal Leonard.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) ”If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

Piano (Piano Solo)

SKU: HL.49047037

Piano Solo. Composed by Vijay Iyer. Piano Solo. Classical. Softcover. 11 pages. Duration 600 seconds. Schott Music #ED30416. Published by Schott Music (HL.49047037).

ISBN 9781705182024. UPC: 842819116998. 9.0x12.0x0.123 inches.

My father, Y. “Raghu” Raghunathan, came from India to the U.S. in 1963, followed soon after by my mother Sita. Dad enjoyed a substantial career as a pharmaceutical chemist, but he drew satisfaction from a simple life among family and friends, never allowing professional demands to overshadow his devotion to loved ones. Modest, compassionate, and ardently egalitarian, he was careful not to take anything too seriously, especially himself. He embraced his own ordinariness because it connected him to everyone else; it made him no better or worse than his neighbor, no more or less deserving of friendship or kindness than any of his fellow human beings. He showed us how to live with dignity, compassion, grace, and boundless love. His last piece of advice to me: “Go slow.” Several weeks after his passing, I happened upon a recording of Shostakovich’s 24 Preludes and Fugues, opus 87. I couldn’t understand why at the time, but the sixteenth prelude and fugue took hold of me and would not let go. I completely immersed myself in that piece for ten days, until it became a mystical conduit for something else: in this semi-trance state I produced a prelude and fugue of my own, in prayer (orison) and in praise (upastuti). It shadows Shostakovich’s form, but it somehow expresses my father’s unhurried, loving spirit. I’ve come to believe that he sent me this piece as a blessing. I hope you feel his presence in it as I do. Vijay Iyer.

For C instrument and voice. Format: fakebook (spiral bound). With chord names, vocal melody and lyrics. Jazz. Series: Hal Leonard Fake Books. 448 pages. 9x12 inches. Published by Hal Leonard.

Soprano, clarinet, and piano - Intermediate

SKU: EC.9192

Composed by Gwyneth W. Walker. E.C. Schirmer Publishing #9192. Published by E.C. Schirmer Publishing (EC.9192).

UPC: 600313491924. English.

No Ordinary Woman is a song cycle for soprano and piano. Commissioned by soprano, Denise Walker, and pianist, Estrid Eklof, for premiere at Brown University, Providence, RI in December 1997. The songs were composed at the composer's home in Vermont during the summer of 1997. These songs might have been subtitled Songs of Self Reflection for they present the poet musing about her own life, and specifically her physical appearance. One imagines the poet looking in the mirror with amusement, horror, and a strong sense of her own history. Thus, the songs range from an energetic first impression (Bones, Be Good!) to philosophical reflection (Turning) to humor and pride in the body itself (Homage to my Hips/Hair) to a more serious summation (The Thirty-Eighth Year). A strong and colorful woman emerges.

Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Softcover. 464 pages. Published by Hal Leonard.

C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 464 pages. Published by Hal Leonard.

Second Edition C Instruments. By Various. Fake Book (Includes melody line and chords). Softcover. 464 pages. Published by Hal Leonard.

C Edition. By Various. Fake Book (Includes melody line and chords). 368 pages. Published by Hal Leonard.

SAB choir, cantor, assembly, keyboard accompaniment, guitar

SKU: GI.G-008073

Composed by Aaron Thompson. Arranged by Ed Bolduc. Ordinary Time 25 B. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #008073. Published by GIA Publications (GI.G-008073).

UPC: 641151080734. English.

SATB choir, organ - Intermediate

SKU: MN.80-576

Composed by Robert A. Hobby. Catholic Year A Easter7; Catholic Year A Ordinary3; Year A Epiphany3;. Thanksgiving, 21st Century, Praise/Thanksgiving. Octavo. MorningStar Music Publishers #80-576. Published by MorningStar Music Publishers (MN.80-576).

UPC: 688670805769. Scripture: Psalms 27.

Stirring setting of 3 verses from Psalm 27, the appointed Offertory text for Pentecost 6. A cappella sections, independent organ accompaniment, praise-like nature of text also make it suitable for Thanksgiving or other festive occasions.