Choral SATB Choir

SKU: CF.CM9654

Composed by Mark Burrows. Fold. Performance Score. 12 pages. Duration 4:15. Carl Fischer Music #CM9654. Published by Carl Fischer Music (CF.CM9654).

ISBN 9781491157268. UPC: 680160915828. 6.875 x 10.5 inches. Key: Ab major. English, English. Julian of Norwich (1342-1416).

Burrows's setting of words of assurance from the English mystic Julian of Norwich (1342-1416) is as relevant today as ever. For the advanced mixed ensemble, the powerful lyrics coupled with gorgeous harmonies make this an optimistic song of hope appropriate throughout the year.
All shall be well, And all shall be well, And all manner of thing shall be well. These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text. One of the most striking features is how this short text incorporates so much repetition. It's as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in. The opening section tries to capture musically some of that persistent optimism. Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now. Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.
All shall be well,And all shall be well,And all manner of thing shall be well.These words of assurance from the English mystic Julian of Norwich (1342-1416) are as relevant today as ever. During her life, Julian saw her community devastated by the Great Plague as well as deep civil unrest. Yet through all the turmoil came a vision of hope that has given the world this profound text.One of the most striking features is how this short text incorporates so much repetition. It’s as if the writer knew she must be gently persistent in order for her optimistic message to truly sink in.The opening section tries to capture musically some of that persistent optimism.Then there is a departure from this optimistic tone (measure 26) The feel becomes more desperate, building to an anguished cry (measure 38), acknowledging the reality that, while all shall be well, things are very much NOT well right now.Eventually the anguish subsides (measure 52) as the music turns back hopeward with the calm assurance, again and again, that all shall be well.

Chamber Music Bassoon, Piano

SKU: PR.114423350

Composed by Amanda Harberg. Set of Score and Parts. 32+12 pages. Duration 16 minutes. Theodore Presser Company #114-42335. Published by Theodore Presser Company (PR.114423350).

ISBN 9781491135112. UPC: 680160686339.

This stunning addition to the bassoon repertory features dramatic outer movements framing a slow and plaintive aria. Harberg’s program notes put the drama and its crying-out high notes in the context of writing in 2021: “The composition was deeply influenced by disruptive forces unfolding around us. While this unrest made writing difficult at times and brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.”.
Connections are all around us. I first met bassoonist Adrian Morejon while writing my Suite for Wind Quintet for the Dorian Wind Quintet in 2017. He and I quickly became fast friends and decided to collaborate on a new piece. Over the next two years, Adrian assembled a phenomenal group of 28 bassoonists from around the world to be co-commissioners. Adrian and I premiered the resulting sonata at the International Double Reed Society’s 2021 Virtual Symposium.The SONATA was composed between January and June 2021. In composing it, my goal was to offer bassoonists a substantial work that would show off the instrument’s remarkable strengths including its athletic agility, gorgeous singing qualities, and enormous range. While I generally avoid being programmatic, this composition was deeply influenced by the disruptive forces unfolding around us. While this unrest made writing difficult at times and often brought me to uncomfortable places within myself, the process was also full of unexpected discoveries and musical solutions I never would have found in less troubled times.I am deeply grateful to Adrian for our collaboration, and to everyone in the consortium for making the SONATA possible.

By Felix Mendelssohn. Edited by Maurice Hinson. For Piano. Piano Collection. Masterwork. Book. 192 pages. Published by Alfred Publishing.

SKU: HL.49044482

Eine Biografie. Composed by Christoph Schwandt. This edition: hard-coverbinding with book jacket. Book. Edition Schott. Freischutz und Oberon sind die wohl bekanntesten Werke des Komponisten. Carl Maria von Weber war ausserdem als Dirigent, Opernmanager und Kritiker tatig. Nach mehreren Jahrzehnten liegt nun die erste umfassende Biografie vor. Sie zeichnet ein plastisches. Softcover. 608 pages. Schott Music #ED21540. Published by Schott Music (HL.49044482).

ISBN 9783795708207. 5.5x8.75x1.628 inches. German.

'Freischutz' and 'Oberon' are the words that come to the minds of many music-loving people when thinking of the composer Carl Maria von Weber, and perhaps even his brilliant piano work 'Die Aufforderung zum Tanz'. However, there also are four other operas, two symphonies, numerous instrumental concertos, overtures, stage works, and many more.Carl Maria von Weber was also an important conductor and opera manager as well as a brilliant critic, and he even planned a great artist novel parts of which are still extant. His writings on art and even cultural and educational policy, however, were often removed from their context later and interpreted in biased ways. The result was an image of Weber that is still present today, albeit influenced by the zeitgeist of the late 19th century, although this musician died in London in 1826 already.This first comprehensive biography after several decades now presents a vivid image of Weber as contemporary of Beethoven in an epoch of political and social unrest from a present-day perspective. The only biography of current interest Composer, critic, author Weber's time from a present-day perspective.

By Jan Garrett. Arranged by Larry Nickel. For SATB choir and piano. Octavo. Published by Cypress Choral Music

By Sara Bareilles. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Artist Songbook. Softcover. 122 pages. Published by Hal Leonard

Choral SATB Choir and Piano

SKU: CF.CM9787

Composed by Coty Raven Morris. Arranged by Saleel Menon. Duration 3:45. Carl Fischer Music #CM9787. Published by Carl Fischer Music (CF.CM9787).

ISBN 9781491164587. UPC: 680160923496. Key: D major. English. Original.

The text for the first voicing (SSA) of this piece came to me in the fall of 2020 while teaching at Crosby High School in Crosby, Texas. My students, though enthusiastic to be back in Choir, were struggling to cope with the civil unrest around them, in addition to the pandemic. When considering how I could help them navigate this time, I realized that they were in need of some sort of consistency, of feeling grounded in themselves. As we  focused on building of community and citizenship, this text and tune came to mind, each phrase highlighting an element of personal and community wellness.I lead with my spirit keeping love in the circle around me. (Social)Expressing my spirit (Occupational)Loving what I can see and cannot see, I'll take care of the vessel I am in (Physical)I love with me that's under the skin (Emotional)Taking care of my mind (Intellectual)Envisioning the me I want to be (Spiritual)I had the honor of collaborating with composer/educator Saleel Menon to create the beautiful piano accompaniment and SATB setting.Who I Want To Be opens with a solo functioning as a mantra throughout the tune. As the piece continues, voices join in unison and harmony to emphasize the intent.When the repeats in mm. 48–51 occur, invite students to share some of their own mantras and affirmations, or feel free to borrow from the words my students in the Crosby HS choir inspired me to write:Allow yourself graceI am persistentI am fragile, not brokenYou are worthyI am worthyI know that your success is not my demise!The only validation I need is my ownI believe in myselfI see youIt’s okay to not be okayBreatheI love and I am lovedPrepare yourself for not only a powerful performance, but a rewarding experience and conversations with your students.THIS is the piece you want stuck in your students’ heads!~CRM.

By Larry Clark. Concert Band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Baritone (Bass Clef), Bassoon, Baritone (Treble Clef in Bb), Tuba, Bells, Xylophone, Timpani, Snare Dru. Carl Fischer First Plus Performance Series. Grade 1.5. Score and Set of Parts. Standard notation. 16 pages. Published by Carl Fischer

By Jan Garrett. Arranged by Larry Nickel. For SAB choir and piano. Octavo. Published by Cypress Choral Music

Score and Parts Clarinet; Piano; Viola (Score & Parts)

SKU: HL.49045889

Five pieces in fairy-tale style for Clarinet, Viola and Piano Score and Parts. Composed by Joerg Widmann. Ensemble. Classical. Softcover. 120 pages. Duration 1740 seconds. Schott Music #ED22487. Published by Schott Music (HL.49045889).

9.0x12.0x0.33 inches.

As far back as I can remember, I have always been fascinated with fairy tales: with their archetypal characters and set phrases like'Once upon a time...'and'...they all lived happily ever after'. Fairy tales were however also a source of unrest for me as a seismograph of mankinds underlying primal fears and desires. So as a performer and composer I have always felt that Robert Schumann's Marchenerzahlungen [Fairy Tales] (scored for the same instrumentation as my own composition) was a disjointed, complex contemporary work - despite the innocence and naivety of its initial appearance. I therefore do not intend my own Es war einmal (Once upon a time...)to be a mere sentimental, nostalgic flight into the distant past, but as a naive and fantastical alternative concept to our genuine world with all its upheavals. Jorg Widmann.

Orchestra violin, piano

SKU: CF.B3470

Composed by Julia Perry. Set of Score and Parts. 26+13 pages. Duration 17 minutes. Carl Fischer Music #B3470. Published by Carl Fischer Music (CF.B3470).

ISBN 9781491159460. UPC: 680160918058.

The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.”Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.