Chamber Music Clarinet, Piano, Vibraphone, Violoncello (Cello, Clarinet in Bb, Piano, Vibraphone)

SKU: PO.PE105

Composed by Christos Hatzis. This edition: softcover. Sws. Score and parts. Promethean Editions #PE105. Published by Promethean Editions (PO.PE105).

ISBN 9781877564055.

Parlor Music is a highly engaging dance piece with clear references to Astor Piazzola and mid-20th century jazz. The work traverses a variety of moods, from melancholy and introspection to manic energy with driving dance rhythms, making it an enjoyable addition to any chamber music recital.

Piano, guitar, vibraphone, tom-tom, woodblock, suspended cymbal, bongos, cowbells, snare drum, bass drum

SKU: OT.25015

Composed by Arnon Zimra & Zvi Joffe. Duration 3:30. Published by OR-TAV Music Publications (OT.25015).

This easy ensemble offers a new approach to learning and understanding the elements of music. Gr 1. Duration 3:30.

Orchestra 2 Bassoons, 2 Clarinets, 2 Flutes, 2 Oboes, 2 Trombones, 3 Percussion:, 3 Trumpets in Bb, 4 Horns in F, Bass Clarinet, Bass Trombone, Contrabassoon, English Horn, Glockenspiel, I: Vibraphone, II: Oc, Piccolo, Solo Tenor Saxophone, Timpani, Tuba, Xylophone

SKU: PR.41641487L

For Tenor Saxophone and Orchestra. Composed by Narong Prangcharoen. Contemporary. Large Score. With Standard notation. Composed 2011. 35 pages. Duration 15 minutes. Theodore Presser Company #416-41487L. Published by Theodore Presser Company (PR.41641487L).

UPC: 680160616282.

Solo Tenor Saxophone, 2 Flutes, Piccolo, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Vibraphone, Xylophone, Glockenspiel, II: Ocean Drum, Triangle, Bass Drum, Cowbells, Anvil, Tambourine, Sus. Cymbal, III: Large Gong, Small Temple Block, Tam-tam, Snare Drum, Piano, Strings.

Flute, Clarinet, Violin, Cello, Guitar, Vibraphone, Piano Chamber

SKU: HL.14008995

Composed by Poul Ruders. Music Sales America. Classical. Score. 36 pages. Music Sales #KP00055. Published by Music Sales (HL.14008995).

ISBN 9788759878217. Danish.

Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu, Joy of Man's Desiring, cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly, I haven't included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders.

By James Horner (1953-). Arranged by Allison Campbell. Concert Ensemble. For percussion ensemble (11-12 players: Bells, (2) Vibraphones, (2) 4 and 1/3 Octave Marimbas, Optional Bass Marimba (5 octave), Double Bass w/Low C Extension or 5 String Fretless Bass, Wind Chimes, (1) Timpano, Suspended Cymbal, Triangle, Concert Bass Drum, Piano, and Soprano Voic). 3. Score and parts. Duration 4:10. Published by Row-Loff Publications

Chamber Music

SKU: PO.PE192S

Composed by John Psathas. Sws. Full score. Promethean Editions #PE192S. Published by Promethean Editions (PO.PE192S).

ISBN 9781776609123.

This work is an arrangement for Percussion Ensemble of Psathas piano trio Aegean (PE181), written in 2012. Short and elegant, Aegean is perfect for ensembles wishing to add a dose of romance to a concert programme. The work is inspired in part by the view from the composer's parents house, which overlooks the Aegean Sea. Arranger Omar Carmenates makes excellent use of timbre in this arrangement, as the vibraphones shimmering resonance and the marimbas warm earthiness readily evoke the aqueous, sunlit contours suggested in the original version.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.

Orchestra 1 Bass (C extension required), 1 Cello, 1 Viola, 2 Violins, Bb Bass Clarinet, Bb Clarinet (doubles Eb Clarinet), Crotales, Flute, Marimba), Oboe (doubles English Horn), Percussion (Glockenspiel, Piano Solo, Vibraphone, Xylophone

SKU: PR.416414220

Concerto for Piano and Chamber Ensemble. Composed by James Matheson. Premiered at the Kimmel Center in Philadelphia, Charles Abramovic, piano, and Orchestra 2001, conducted by James Freeman. Contemporary. Full score. With Standard notation. Composed January 15 2003. 42 pages. Duration 18 minutes, 30 seconds. Theodore Presser Company #416-41422. Published by Theodore Presser Company (PR.416414220).

UPC: 680160602063. 8.5 x 11 inches.

Solo with Percussion Ensemble Solo with Percussion Ensemble (Solo Piano, Percussion 1 (4.3-octave Marimba, small suspended cymbal, high woodblock, cuica), Percussion 2 (4.3-octave Marimba, claves, medium suspended cymbal), Percussion 3 (vibraphone, xylophone, temple blocks, medium chain), Percussion 4 (chimes 4.3-o) - medium

SKU: CN.06300

Piano Feature. Composed by David J. Long. Score and parts. Duration 14:00. Published by C. Alan Publications (CN.06300).

Evoking the sounds of the spirits, this piece utilizes many unconventional sounds to achieve the desired effects. (i.e. box filled with broken glass, heavy chain) A beautifully haunting piano solo emphasizes the spectral nature of the work.

I. The Succubus: A demon of the night who masquerades as a seductive woman beguiling men in their sleep. II. The Poltergeist: A malevolent spirit whose hauntings are characterized by loud noises, strange lights, rapping sounds, shrieks, and moving objects.

Orchestra 1 Bass (C extension required), 1 Cello, 1 Viola, 2 Violins, Bb Bass Clarinet, Bb Clarinet (doubles Eb Clarinet), Crotales, Flute, Marimba), Oboe (doubles English Horn), Percussion (Glockenspiel, Piano Solo, Vibraphone, Xylophone

SKU: PR.41641422L

Concerto for Piano and Chamber Ensemble. Composed by James Matheson. Premiered at the Kimmel Center in Philadelphia, Charles Abramovic, piano, and Orchestra 2001, conducted by James Freeman. Contemporary. Large Score. With Standard notation. Composed January 15 2003. 42 pages. Duration 18 minutes, 30 seconds. Theodore Presser Company #416-41422L. Published by Theodore Presser Company (PR.41641422L).

UPC: 680160602070. 11 x 17 inches.

Score

SKU: HL.50602320

For Piano and Strings Score. Composed by Henrik Skram. Score. Softcover. Edition Wilhelm Hansen #WH33273. Published by Edition Wilhelm Hansen (HL.50602320).

UPC: 840126906646.

This work for flute, clarinet, vibraphone, piano and strings comes with the tagline gressbakker og himmel, meaning grassy hills and sky..

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Solo with Percussion Ensemble Solo with Percussion Ensemble (Solo Piano Percussion 1 (4.3-octave Marimba, small suspended cymbal, high woodblock, cuica) Percussion 2 (4.3-octave Marimba, claves, medium suspended cymbal) Percussion 3 (vibraphone, xylophone, temple blocks, medium chain) Percussion 4 (chimes 4.3-octav) - medium

SKU: CN.06301

Piano Feature. Composed by David J. Long. Score only. Duration 14:00. Published by C. Alan Publications (CN.06301).

Evoking the sounds of the spirits, this piece utilizes many unconventional sounds to achieve the desired effects. (i.e. box filled with broken glass, heavy chain) A beautifully haunting piano solo emphasizes the spectral nature of the work.

I. The Succubus: A demon of the night who masquerades as a seductive woman beguiling men in their sleep. II. The Poltergeist: A malevolent spirit whose hauntings are characterized by loud noises, strange lights, rapping sounds, shrieks, and moving objects.