Choral (SSA Choir)

SKU: HL.113134

(from Wonderland). Arranged by Mac Huff. Broadway Choral. Big Band, Broadway, Show Choir, Swing, Vocal Jazz. Octavo. 16 pages. Published by Hal Leonard (HL.113134).

UPC: 884088867645. 6.75x10.5 inches.

This big-band show-stopper comes from Wonderland, Broadway's contemporary spin on the classic story of Alice through the Looking-Glass, but this time far beneath the streets of New York City. Colorful and slightly off-kilter, this is the ultimate show opener for a Broadway concert set!

((from Wonderland)). Arranged by Mac Huff. For Choral (SATB). Broadway Choral. 16 pages. Published by Hal Leonard

Wind Orch - Advanced

SKU: FT.FM640

Composed by Keiron Anderson. Full Wind Orchestra. Score and parts. Forton Music #FM640. Published by Forton Music (FT.FM640).

ISBN 9790570485390.

This music begins with Alice and he sister relaxing in an English summer garden in the sunshine. As we hear Alice's theme a white rabbit appears and runs past in a hurry. The compound time chase sequence leads to a descending chromatic sequence which lands Alice in a pool of tears as her music adjusts to the strange environment. The Cheshire Cat and other creatures appear in her journey through Wonderland until she joins the Mad Hatter for tea. His slightly chromatic theme dodges from key to key until Alice encounters the military march of the Queen of Hearts and her army. There is a reflective theme as Alice's music tries to cheer up the sad Mock Turtle followed by a lively Lobster Quadrille The trial scene is a musical interaction between two themes often played across one another until a fanfare declares Off with her head! As Alice grows and rises to the garden her music takes her home safely. Was it a dream? Like Alice herself, this intricate work is curious, slightly mad, and will lead you on an exhilarating journey through wonderland. Its designed to be enjoyed by players and audience alike and is a sparkling addition to any programme. Approx. 11'30''.

(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard

(A New Alice. A New Musical.). By Frank Wildhorn. Piano/Vocal/Guitar Songbook. Softcover. 144 pages. Published by Cherry Lane Music

Composed by Chick Corea. For piano. Format: instrumental solo songbook. With piano score, introductory text and performance notes. Jazz. 120 pages. 9x12 inches. Published by Hal Leonard.

(Songs and Orff Activities for the Music Classroom). By Mark Burrows. For Unison Choir, Orff instruments. General Music. Grades 1-6. Parts with Performance & Accompaniment CD. Published by Heritage Music Press

Piano

SKU: HL.14007629

Composed by Felix Corbett. Music Sales America. Book Only. Bosworth & Co. #BOE008302/5. Published by Bosworth & Co. (HL.14007629).

Piano; Viola (Viola)

SKU: HL.48011418

Viola and Piano. Composed by Sheila Nelson. Boosey & Hawkes Chamber Music. Classical, Collection, Educational. 26 pages. Boosey & Hawkes #M060092626. Published by Boosey & Hawkes (HL.48011418).

UPC: 073999837377. 9.0x12.0x0.135 inches.

Contents: The Tadpole's Tale * Alastair Arbuthnot Has No Hat * Trot Along * Tweedledum and Tweedledee * Pizzicato Pie * If All the World Were Paper * G String March * Over the Moon * Polka * Mad as a Hatter * On the Ice * Li'l Liza Jane * Dance to your Daddy * The First Waltz * Chicken-Feed * Octopiece * Flag Dance * Promenade * Hungarian Folk Song * Drink to Me Only * Square Dance * Cossack Lullaby * Whirlpool Waltz * Rigadoon * Minuet and Trio * Landler * Christ Church Bells.

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 .

Performed by Elton John. For voice and piano. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and introductory text. Rock and pop rock. Series: Hal Leonard Keyboard Recorded Versions. 160 pages. 9x12 inches. Published by Hal Leonard.

Guitar Chord Songbook (6 inch. X 9 inch.). Performed by Elton John. Guitar Chord Songbook. Size 6x9 inches. 176 pages. Published by Hal Leonard.

By The Beatles. Music Sales America. Softcover. 192 pages. Sterling Publishing #SL10710. Published by Sterling Publishing

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139S

Composed by Lowell Liebermann. Full score. Duration 15 minutes. Theodore Presser Company #116-41139S. Published by Theodore Presser Company (PR.11641139S).

UPC: 680160682119.

Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.