By Martha Mier. For Piano. Piano Duet (One Piano, Four Hands). Level: Early Intermediate / Intermediate (grade 3/4/5). Book. 32 pages. Published by Alfred Publishing.

Violin

SKU: UT.XXS-107

Composed by Salvatore Di Stefano. Saddle stitching. Contemporary Music. Classical. Score and Parts. Ut Orpheus #XXS 107. Published by Ut Orpheus (UT.XXS-107).

ISBN 9790215323865. 9 x 12 inches.

Racconto (Tale)/ Capri/ Cielo sereno (Clear sky)/ Tano/ Napolitango/ Luci della spiaggia (Beach lights)/ Fantasia mediterranea (Mediterranean fantasy)/ Una lacrima ridente (A smiling tear)/ Quartieri spagnoli/ Marcia dei pomodori (March of the tomatos)

Being interested in certain aspects of popular music, I became aware of several similarities between popular Neapolitan melodies and the Argentinean tango. Napolitango is based on an imaginary journey to Naples and Buenos Aires. In retaining certain characteristics of the original music, Napolitango embodies an inspiration and an almost theatrically passionate character which is common to these two genres.
The piece has been composed for the Parisian Festival Paris Banlieues Tango 2001.
(S. Di Stefano).

By Pauline Hall. For piano. Piano. Piano Time. Piano Time. Easy. Collection. 32 pages. Published by Oxford University Press

(Jazz Play-Along Volume 175). Composed by Various. For C Instruments, BC Instruments, Bb Instruments, Eb Instruments. Jazz Play Along. Softcover with CD. 72 pages. Published by Hal Leonard

Full Score

SKU: HL.300019

For String Orchestra Full Score. Composed by Jose Serebrier. Peermusic Classical. Softcover. 8 pages. Duration 240 seconds. Peermusic Classical #70260-766. Published by Peermusic Classical (HL.300019).

ISBN 9781540061713. UPC: 888680960018. 9.0x12.0x0.063 inches.

Jose Serebrier has added two new works to his string orchestra catalog. None but the Lonely Heart, an orchestration of a song from Tchaikovsky's Op. 6, reflects his Russian heritage; Last Tango Before Sunrise, recalling his South American upbringing, is a tango more for meditation than the dance floor.

Composed by Carlos Gardel. Arranged by Diego Collatti. Contemporary. Score and part(s). With Standard notation. 32 pages. Universal Edition #UE36656. Published by Universal Edition (PR.UE036656).

Chamber Music Contrabass Tuba, Piano

SKU: PR.144407540

Composed by Lauren Bernofsky. Set of Score and Parts. 16+8 pages. Duration 7 minutes. Merion Music #144-40754. Published by Merion Music (PR.144407540).

UPC: 680160687800.

TWO LATIN DANCES is a beautifully evocative and sizzling work based on Bossa Nova and Tango rhythms, now available in a new arrangement for contrabass tuba* and piano by the composer. While at first sounding as two distinct movements, the characteristic dances gradually intertwine to create a uniquely integrated and ever-building whole. Celebrated trombonist Natalie Mannix commissioned the original work for trombone and piano, and introduced TWO LATIN DANCES at the 2016 International Trombone Festival. Mannix has recorded the work on her CD Breaking Ground: A Celebration of Women Composers. For advanced performers.*A version for bass tuba and piano is also available (144-40741).

Collection for solo piano(all C instruments), . 159 pages. Published by Santorella Publications.

For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff. Wind quartet. For Clarinet I, Clarinet II, Clarinet III, Bass Clarinet. Score and parts. 4 pages. Duration 2:30. Published by Theodore Presser Company.

Guitar solo - Advanced

SKU: DZ.DZ-4287

Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287).

ISBN 9782898522048.

Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.
In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.
Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.
Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).
In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.
In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.
Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.
The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.

Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.
En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.
De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.
Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).
En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.
En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.
Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.
La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».
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Chamber Music Piano, Trumpet

SKU: PR.144407510

Composed by Lauren Bernofsky. Set of Score and Parts. 16+8 pages. Duration 7 minutes. Merion Music #144-40751. Published by Merion Music (PR.144407510).

ISBN 9781491136010. UPC: 680160685752.

TWO LATIN DANCES is a beautifully evocative and sizzling work based on Bossa Nova and Tango rhythms. While at first sounding as two distinct movements, the characteristic dances gradually intertwine to create a uniquely integrated whole. By popular demand, Lauren Bernofsky has transcribed the work, already a staple of the trombone repertoire, for trumpet so that more musicians may join in the excitement!