By George Forrest, Robert Wright. Vocal Score. Size 9x12 inches. 168 pages. Published by Hal Leonard.

By Robert D. Vandall. For Piano. Piano Suite. Recital Suite Series. Level: Late Intermediate. Suite. 12 pages. Published by Alfred Publishing.

SSA & piano, with optional violin duet

SKU: OU.9780193433502

Composed by Reginal Wright. Songbird. Vocal score. 12 pages. Duration 3'. Oxford University Press #9780193433502. Published by Oxford University Press (OU.9780193433502).

ISBN 9780193433502. 10 x 7 inches.

For SSA and piano, with optional violin duet Reginal Wright's emotional and uplifting Crossroad sets Robert Frost's well-known poem 'The road not taken'. A twinkling piano accompaniment supports the voices, and the optional violin duet floats above, expanding on figures from the vocal parts.

By Marcus Smith, H. R. Palmer, Murray Boren, David A. Zabriskie, Royce Isham, Robert P. Manookin, Reid Nibley, Robert Galbraith, Tracy Y. Cannon, Robert Cundick, Charles H. Gabriel, Harrison Millard, Lorin F. Wheelwright And Philip Paul Bliss. Arranged by Compiled By Clayne W. Robison - Settings By Marcus Smith, Robert Lee Rowberry, Murray Boren, David Zabriskie, Royce Isham, Robert P. Manookin, Reid Nibley, Robert Galbraith, Robert Cundick, Daniel Bradwhaw, Murray Boren, Ronald Staheli. Text: John Jacques, Robert Morris, Robert Keen, Virginia Maughan, Marcus Smith, John 15:1, 2, 4-6, Orson Hyde, attributed to Bernard of Clairvaux, Robert Galbraith, Revelation 7:13-17, Frank I. Kooyman, Job 14:14;19:25,26, Charles H. Gabriel, Anne Steele, Laurie M. Hofford, Lorin F. Wheelwright and Philip Paul Bliss. For Vocal Solo Book. Published by Jackman Music Corporation.
Level: Varied.

Books and Journals

SKU: UT.APS-1

Edited by Fulvia Morabito and Michela Niccolai. Paperback (Soft Cover). Ad Parnassum Studies. Classical. Books and Journals. Ut Orpheus #APS 1. Published by Ut Orpheus (UT.APS-1).

ISBN 9788881094530. 6.5 x 9.5 inches.

Introduzione di Julian Rushton. Saggi di Diana Bickley, Claudio Bolzan, Guillaume Bordry, Laura Cosso, Katharine Ellis, Roberto Illiano, Michela Niccolai, Mark A. Pottinger, Alban Ramaut, Cécile Reynaud, Julian Rushton, Lesley A. Wright


This volume inaugurates the series of Studies of the twice-yearly journal Ad Parnassum. A Journal of 18th and 19th-Century Instrumental Music. These publications are devoted to individual composers who have made a significant impact in the field of instrumental music. In this way they remain securely within the journal’s area of interest, though without actually imposing strict limits on the specific themes treated, given that the entire output of the composers concerned may be taken into account, not just the instrumental music. As in the case of Hector Berlioz (Côte-St. André, 1803 - Paris, 1869), the composer chosen for the present volume. This collection of miscellaneous studies ranges widely, therefore, from his instrumental production to the operas, also taking in his contributions to music criticism and the theoretical literature.

From Frozen 2. Composed by Robert Lopez and Kristen Anderson-Lopez. Arranged by David Wright and Deke Sharon. Barbershop Harmony Society. A Cappella, Barbershop, Choral. Octavo. 19 pages. Barbershop Harmony Society #213999. Published by Barbershop Harmony Society

SATB choir

SKU: LO.15-3609H

Composed by Jean Berger. Arranged by Michael Ryan. Choral. Christmas. Octavo. Heritage Music Press #15/3609H. Published by Heritage Music Press (LO.15-3609H).

ISBN 9780787762629.

Awake the voice, awake the string, heart, ear, and eye, and ev'rything! What sweeter music can we bring? Join a classic Robert Herrick Christmas poem and the inspired music of Jean Berger, and you have the makings of a choral addition to your December concerts. The vocal parts are lovely and singable, and the optional piano accompaniment adds another possible musical dimension. Recording by the Collegiate Chorale from Wright State University in Dayton, OH.

By Wolfgang Amadeus Mozart. Arranged by Robert Earl Wright. (SATB). Raymond Hoffman Company. Sacred. 8 pages. Published by Fred Bock Music Company.

Piano - Grade 4

SKU: FA.MFCD007PN

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD007PN. Published by Musik Fabrik (FA.MFCD007PN).

8.27 x 11.69 inches.

Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunately, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!