13 outstanding new compositions by eight popular composer/arrangers are premiered on this spectacular new compact disc. Composers whose works are showcased include James Swearingen, Robert Sheldon, Ed Huckeby, Alfred Reed, Andy Clark, Robert Longfield, Steven Reineke and Warren Barker. Wonderful music immaculately performed by an outstanding band

Sextet

SKU: BR.EB-32049

Urtext. Composed by Eduard Franck. Edited by Nick Pfefferkorn. Chamber music; Folder. Edition Breitkopf. Romantic period. Set of parts. Composed 1882/1884. 76 pages. Breitkopf and Haertel #EB 32049. Published by Breitkopf and Haertel (BR.EB-32049).

ISBN 9790004186473. 9 x 12 inches.

Eduard Franck finished the fair copy of his second string sextet score in December 1884. The piece can thus be described as a typical late work, also evident from its wistful retrospective mood. The sextet's D-major first movement has a concise main theme moving to an expressive secondary theme whereas its final movement is a polyphonic masterpiece: This full, yet transparent movement integrates all the characteristics of the preceding movements in a rhythmically elastic, richly melodic broader context that in the end attains serenity and reconciliation.

3 to 6 octave handbells - Level 4

SKU: BP.HB755

Composed by Jason W. Krug. General. With Handchimes. Score. Beckenhorst Press #HB755. Published by Beckenhorst Press (BP.HB755).

Written for 3 to 6 octave handbell choir. Level 4.

This exciting original tune from the pen of Jason Krug is not to be missed! Featuring alternating measures of 4/4 and 3/4, the joyful, memorable melody moves throughout the ensemble. Frequent interludes take the piece off in different directions before coming back to the melody once more. A slower, retrospective middle section gives a respite before the driving feeling returns once more to close the piece out in explosive, festive fashion!

By Scott Joplin. Arranged by Andy Clark. Concert Band. Extra full score. Composed 1997. Published by C.L. Barnhouse.

(Piano/Vocal/Chords). For Keyboard; Piano; Voice. This edition: Piano/Vocal/Chords. Artist/Personality; Book; Personality Book; Piano/Vocal/Chords. Pop/Rock. 200 pages. Published by Alfred Music Publishing

Books and Journals

SKU: UT.QC-5

Edited by Fabio Morabito and Louise Bernard de Raymond. Paperback (Soft Cover). Quaderni Clementiani. Classical. Books and Journals. Ut Orpheus #QC 5. Published by Ut Orpheus (UT.QC-5).

ISBN 9788881095223. 6.5 x 9.5 inches.

Essays by Louise Benrard de Raymond, Muriel Boulan, Thomas Christensen, Etienne Jardin, Ellen Lockhart, Fabio Morabito, William O'Hara, Alban Ramaut, Annette Richards, Michael B. Ward

The nineteenth-century composer has a persistent image problem: inspired, unworldly, male, writing works of genius for posterity. If it has been the project of musicologists for the last 30 years to erode this checklist, he lingers still like a bad smell. This book uses Antoine Reicha (1770-1836) as a case study through which to develop alternative approaches to the nineteenth-century composer. That Reicha was a composition teacher and prolific writer of instruction manuals, for example, provides an opportunity (and new types of sources) to focus on composers' attempts at becoming composers. How can we catch them 'in the making', exploring not a body of works and achievements, but the priorities and anxieties of these individuals (the knowledge they followed or created) in crafting their artistic identities for the public? What modes of music historiography and analysis might help explore Reicha's and his contemporaries' music beyond mapping it within local or national traditions and their transfer? Can a networked model of music-history writing - we might call it 'a history of music with no protagonist' - assist musicologists in working on non-canonical composers without retrospectively making monuments out of them? These and other questions frame this volume, in order not only to reassess Reicha, but also our disciplinary toolkit: to ask how/why/to what end we tell stories about composers in musicology more generally.

Performed by Chicago. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Pop rock and soft rock. 200 pages. 9x12 inches. Published by Hal Leonard.

Violoncello - Level 5

SKU: BA.BA11071

Composed by Matthias Pintscher. In a folder. Part II of the cycle Profiles of Light. Performance score. Composed 2015. 4 pages. Baerenreiter Verlag #BA11071_00. Published by Baerenreiter Verlag (BA.BA11071).

ISBN 9790006562015. 42 x 29.7 cm inches.

“Now II” is the second part of a triptych of chamber pieces entitled “Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).

All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.

This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.

By Mary J. Blige. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 112 pages. Published by Hal Leonard.

SKU: FP.FPT06

Composed by John Turner Ed. Rosemary Firman. Biography. A wonderful retrospective on the life of Bolton-born composer, artist and craftsman Thomas Pitfield, featuring autobiographical writings, new critical essays reappraising his work, and the recollections of family, friends, pupils and colleagues, as well a. Non-Fiction. Text Book. Forsyths Publications #FPT06. Published by Forsyths Publications (FP.FPT06).

ISBN 9780951479544.

Endless Fascination brings together Thomas Pitfield’s most significant autobiographical writings, new critical essays reappraising his work, and the recollections of family, friends, pupils and colleagues. It is illustrated with portraits, musical examples and over 100 reproductions of his art and craft works, supplemented by a CD of music by the composer and his acquaintances.

Thomas Pitfield (1903-1999) was born in Bolton, Lancashire, into a conventional and narrow-minded working-class family. Drawn to music and driven by a compelling urge to compose, he overcame initial setbacks and lived according to principles he worked out for himself, maintaining a modest and honest lifestyle directed by the precepts of vegetarianism and pacifism, and keeping faith with his innate gifts to make a living and a home for himself and his like-minded wife Alice. He became a notable and prolific composer who enjoyed numerous performances and broadcasts of his works, especially in the North West region of England, some by leading artists such as John Barbirolli, Vilém Tauský, Benjamin Britten and Peter Pears, John McCabe, and Ronald Stevenson. His music, often written for specific occasions or performers, was typically light-hearted and small-scale, with frequent reference to folk-music; larger-scale pieces included two piano concertos, concertos for violin, cello and recorder, and more than a dozen stage works. He was also an artist, craftsman and poet (with an enthusiasm for nonsense verse), whose work reflects the revival of interest in the arts and crafts during the first half of the 20th century. Running as a thread though everything he did was his unswerving love for the natural world and in particular the beauty of trees.