Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Orchestra

SKU: BT.YKM570369270

Composed by Robert Saxton. Score Only. Composed 2021. 70 pages. University of York Music Press #YKM570369270. Published by University of York Music Press (BT.YKM570369270).

A Hymn to the Thames was commissioned by James Turnbull and the Music Director of the St Paul’s Sinfonia, Andrew Morley. It was begun in 2019 and completed early in 2020. There are four movements played without a break, which follow the Thames from its Cotswold source to the North Sea. As the first performance took place in St ALfege’s Church, Greenwich, this seemed appropriate. The solo oboe represents both a wanderer along the river path and the spirit of the river. The pitch centres of the movements spell out the musical letters of the river (tHAmES—B natural, A, E and E flat) so that the river’s name is projected across the whole work. In addition, the musical letters found in James Turnbull, Andrew Morley and my wife, Teresa Cahill ( who was born in Maidenhead and brought up by the river in Rotherhithe) are entwined in various guises. The first movement grows from the depths, the soloist entering with fanfare-like gestures, followed by lyrical music and breaks into a dance as the river gathers momentum. The third movement is slow and sustained and geographically the Thames flows through Oxford. The music is based on the well-known In Nomine ‘head motif’ from the Gloria tibi Trinitas Mass by the early Tudor composer, John Taverner, who was the first Director of Music at Christ Church, Oxford. The orchestra provides a screen or veil above which the solo oboe dreams and ruminates. This leads directly into the fourth and final movement which begins in the depths once more, interrupting the oboe’s held note from the end of the third movement. The waters’ increasing intensity and power are represented throughout by a moto perpetuo of quick, steady semiquavers. Near the close, the woodwind play O Nata Lux by Thomas Tallis, the great Tudor composer who, with his wife Joan, is buried in St Alfege’s. Beneath this, the lower strings continue the fast semiquaver movement of the river and, above, the violins are heard as a halo of harmonics. At the close, the oboe rises, opening out to the future, and celebrating its voyage, while the orchestra fades as the river meets the sea. A Hymn to the Thames lasts approximately 17 minutes.

Chamber Music Bass Trombone, Horn, Trombone, Trumpet 1, Trumpet 2

SKU: PR.114412250

Composed by Melinda Wagner. Set of Score and Parts. With Standard notation. Composed 2000. 40+10+9+10+11+12 pages. Duration 15 minutes. Theodore Presser Company #114-41225. Published by Theodore Presser Company (PR.114412250).

UPC: 680160017768.

Brass Quintet No. 1 was composed with great pleasure for the American Brass Quintet during the summer of 2000. It is cast in three movements. The work opens with a series of dramatic annunciatory gestures that serve to set into relief the faster, more angular, occasionally skittish heart of the movement. Both the beginning and the end of this core are framed by a long-held E-flat: two pillars that support and elevate the central part of the movement. The slow and quiet second movement can be viewed as a kind of lens or prism through which the music passes and changes. Pitches, then harmonies, are gradually brought into focus, then refracted - splintering off into more individual phrases (I was thinking here of the way light is split and bent by the prisms in our kitchen window). The end of the movement is characterized by a turn of the lens in the opposite direction as the music gradually blurs, then fades.   The final movement begins with a bit of imitative counterpoint. The character of the music is initially unabashed and proud, but is quickly foiled by increasing speed - a frantic kind of stretto! A more playful narrative follows, though; this occasionally studded with sharp, percussive chords. A brief choral-like section provides textural contrast before the recapitulation, and the familiar E-flat pillar from movement one ends the work.

Composed by Keiron Anderson. Score and parts. Published by Forton Music (FT.FM326).

Choral - intermediate to advanced

SKU: HL.49018908

Men's Choir. Composed by Robert Sund. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. 36 pages. Duration 10'. Schott Music #C53577. Published by Schott Music (HL.49018908).

ISBN 9790001169844. German.

Commissioned by the Camerata vocale Limburg, this piece uses a sacred text from 'Ecclesiastes' in the version of the Zurich Bible of 1931. The text is made up of four different parts and set to music with different musical means. The first movement Wind has been composed for two three-part male-voice choirs. The music closely follows the natural declamation of the text, often in the form of a canon between the two choirs and the different voices. The second movement Licht is written for four parts. The light is presented in a slow tempo (poco rubato), often in high falsetto registers. Except for a forte outburst when darkness comes, the sound is very soft and gentle. The third movement is called Jugend and shall be performed by a young, enthusiastic and carefree tenor soloist. The text is based on many dactyls which gives the rhythm a youthful freshness. The fourth movement Alter tells how age progresses until the end. This is presented musically by a six-part canon which begins deep and soft and eventually culminates in high registers and a fortissimo. The work fades in a hardly audible pianissimo with the words of the preacher 'How everything is null and void! Everything is in vain!' (Robert Sund). Duration: 10 minutes.

Clarinet, bass clarinet, piano

SKU: P2.30141

Composed by Noah D. Taylor. Concerto. Published by Potenza Music (P2.30141).

The Concerto for Clarinet and Bass Clarinet was commissioned by a Potenza Music Publications Consortium and was written for Dr. Robert Spring and Dr. Mathew Miracle. The work was premiered by the duo at the 2014 International Clarinetfest. As a composer, Taylor has always sought to capture the exciting and sweeping qualities of orchestral and film music in his own works and the double concerto is no exception. Cast in three movements, thiswork not only showcases and challenges the soloists, but also provides the listener a captivating a memorable experience. The first movement of the work opens quietly and calmly as each of the clarinets are introduced. After the haunting introduction, a fun and quirky dance ensues, marked by flashy melodic lines and asymmetrical rhythms. This work allows the clarinetist to show off the fun character of the clarinet. The second movement starts with a slow and haunting treatment of the theme, but soon gives way to a passages that become more flowing and expressive version. This middle part of the concerto allowed Taylor to writepassionately and romantically, and unbound by traditional form. As the movement fades away, it is meant to lead the listener to the fiery third movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the two soloists and accompaniment. As this scherzo-like movement develops, Taylor transforms the theme rhythmically driven passages followed by hauntingly lyric sections. As the piece builds, themes from the first movement return to tie the work together. At it's climax the Double Concerto ends with fiery virtuosity and powerful harmonic drive.

(Tenor Saxophone). By Art Blakey, Kenny Drew, Sonny Rollins, and Modern Jazz Quartet. For Tenor Saxophone. Artist Transcriptions. Softcover. 48 pages. Published by Hal Leonard

Horn, Trombone & Piano

SKU: SU.32040190

For Horn, Trombone & Piano. Composed by Amy Riebs Mills. Chamber Music, Piano Trio, Brass, Brass Ensemble. Accompanied by piano. Score & Parts. Subito Music Corporation #32040190. Published by Subito Music Corporation (SU.32040190).

One More Mountain is a dynamic musical drama in one movement for Horn, Trombone and Piano. It features virtuosity of the brass players and lyricism of the pianist. The Dramatic opening theme displays strength of character and builds to a climax. Wistful, ever in motion, the piano introduces the first Waltz theme. The trombone joins in with a soulful outpouring of love, and finally the Horn joins for a beautiful trio of Waltz melodies combined. Building through Honor, the Triumphant climax blazes, then quickly fades as the Dramatic theme returns in canon. The trio of Waltz themes returns, and this time Honor leads to Finding Peace. Slowly and softly the piano emerges, grows rapidly, and is joined by the brass for a rip roarin’ Heroic Ride to the end. Difficulty Level: Horn/Trombone – 5, Piano - 4 Horn, Trombone & Piano Duration: 7'30 Composed: 2022 Published by: Amy Mills Music, LLC.

Organ

SKU: PL.PPM02144M

Composed by Zvony Nagy. Score. Paraclete Press #PPM02144M. Published by Paraclete Press (PL.PPM02144M).

Discover a unique sound in this piece for organ by Zvony Nagy. Ethereal in spirit, this features slowly changing harmonies with a haunting melody that fades in and out.

By Melody Bober. For Piano. Duet or Duo; Piano Duet (1 Piano, 4 Hands). The Alfred Duet Series. Intermediate. Sheet. 12 pages

Band Agogo Bells, Bass Clarinet, Bass Drum, Bass Trombone, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more. - Grade 4

SKU: CF.SPS96

Composed by Joe Riposo. Set of Score and Parts. Carl Fischer Music #SPS96. Published by Carl Fischer Music (CF.SPS96).

ISBN 9781491163795. UPC: 680160922581.

Popcatepetl, “Smoke Mountain” in Aztec, is a dormant volcano which the Mexican people affectionately call “POPO.” This dormant volcano in Mexico is on the boundary between the states of Mexico and Pueblo.In 1921 Popocatepetl belched smoke and gas for several months. Since then is has occasionally emitted the smoke and sulfurous vapors that earned its Aztec name.This suite is my musical impression of the Aztec volcano. The piece is divided into three scenes.The first scene, Prologue, is the first impression formed when you first come upon the volcano. The emotions range from fear to excitement to respect for nature. This scene should be played with spirit and every rhythmically.The second scene, Ballad. represents my feelings after the initial emotions have faded. One is quickly relaxed by the beauty of the volcano and its surroundings. This scene is scored in a dance-band style with lush sounding harmonics. This section of the composition should be played very slowly and with a relaxed feeling.The third scene, Introduction and Samba, is the emotion of joy utilizing Latin rhythms. This scene takes advantage of all of the color and rhythms associated with Mexico. Samba opens with a fanfare which is the main theme on which the whole scene is developed. This section should be played very crisply and rhythmically.Particular attention should be paid to all of the dynamic expressions even though the scoring will in most cases achieve dynamic changes.