Composed by Carl Gotthelf Glaser, James Mountain, William Shrubsole and Samuel Webbe. Arranged by Raymond H Haan. For cello, organ. 21st Century. Moderately Easy. Published by MorningStar Music Publishers

Orchestra (2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.PB-5238

Urtext. Composed by Ludwig van Beethoven. Edited by Peter Hauschild. Orchestra; Softcover. Partitur-Bibliothek (Score Library).

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.

Symphony; Classical. Full score. 80 pages. Duration 27'. Breitkopf and Haertel #PB 5238. Published by Breitkopf and Haertel (BR.PB-5238).

ISBN 9790004210000. 10 x 12.5 inches.

Ludwig van Beethoven composed his Eighth Symphony op. 93 in 1811/1812. As a consequence of the wartime upheavals of those years, the world premiere of the work did not take place until 27 February 1814 in Vienna under the composer's direction.Hauschilds new edition is based on all the major primary sources. With masterful expertise, Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately. Whoever seeks more about how the Breitkopf new edition differs from other available editions will also find this information quickly and easily.

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.

Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental.
This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon” at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra” in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view

SATB vocal soli, S(S)ATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.5505609

Composed by George Frideric Handel. Edited by Ton Koopman, Jan Siemons. Arranged by Siegfried Petrenz. This edition: urtext. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. Awards / Prizes: Deutscher Musikeditionspreis Best Edition; Carus sheet music series: Vocal scores XL. Messiah Kart Ga-Format. Innovative practice aids, Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1742. HWV 56. Duration 150 minutes. Carus Verlag #CV 55.056/09. Published by Carus Verlag (CA.5505609).

ISBN 9790007226732. Language: English/German. Text: Jennens, Charles. Text: Charles Jennens.

George Frideric Handel is considered England's first and foremost composer of oratorios. Above all, the Messiah is regarded as the epitome of sacred music and in German-speaking countries it is also one of the most often performed works in the genre. The version of the Messiah which is most often performed today is a combination of various versions. Consequently, the present critical edition by Ton Koopman contains all the surviving alternative versions of the solo movements. A concordance makes it possible to assign these movements to those various performances of the work conducted by Handel between the Dublin premiere in 1742 and the London concerts which took place up to 1759. In accordance with the wishes voiced by many choral conductors and singers, the vocal score is available in separate English and German versions. Score and parts available separately - see item CA.5505600.

By Ernesto Kohler. Edited by Carol Wincenc. LKM Music. 16 pages. Hal Leonard #S110021. Published by Hal Leonard

Orchestra

SKU: HL.49009585

Composed by Charles Francois Gounod. Edited by Bill Hopkins. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. 102 pages. Eulenburg Edition #ETP 1380. Published by Eulenburg Edition (HL.49009585).

ISBN 9783795766740. UPC: 841886000735. 5.25x7.5x0.272 inches. German - English.

Gounod's Faust opera (libretto by Michel Carre and Jules Barbier) is based on the love story of Faust and Marguerite which is but a part of Goethe's Faust drama. Consequently the title of the opera is unacceptable in Germany where it is renamed Margarethe, after the heroine.

Mixed choir (SATB) with soprano voice solo and piano - difficult

SKU: HL.49005944

Nach Texten von Andreas Gryphius. Composed by Karl Amadeus Hartmann. Sheet music. Edition Schott. Classical. Score. Composed 1936. 60 pages. Duration 45'. Schott Music #ED 6006. Published by Schott Music (HL.49005944).

ISBN 9790001064378. German.

'The towers are burning, the church has been ransacked, the town hall lies in ruins, the strong have been hacked to death, the virgins defiled, and wherever we look we see fire, plague and death which breaks both heart and spirit.'Karl Amadeus Hartmann uses bold colours to depict the image of the Thirty Years' War, the consequence of religious strife throughout Europe. The composer's only choral work sets poetry by Andreas Gryphius and culminates in a muted call for peace. Hartmann undertook a revision of the music in his cantata Lamento for soprano and piano in 1955.

String quartet

SKU: FG.042-08254-6

Composed by Joonas Kokkonen. Score. Published by Fennica Gehrman (FG.042-08254-6).

ISBN 979-0-042-08254-6.

Kokkonen's three string quartets form the backbone of his chamber music output. The first quartet, completed during 1958-59 was his first dodecaphonic work, a natural consequence and continuation of an increasingly chromatic neo-classicism.

SKU: PR.16400212S

Composed by Dan Welcher. With Standard notation. Duration 16 minutes. Theodore Presser Company #164-00212S. Published by Theodore Presser Company (PR.16400212S).

UPC: 680160037605.

Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings.   When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements.   The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence.   The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep.   The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes.   Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.

String Quartet

SKU: HL.14036998

Composed by Per Norgard. Music Sales America. Classical. Set. 9 pages. Music Sales #KP00159. Published by Music Sales (HL.14036998).

ISBN 9788759864876. Danish.

Per Norgard THREE MINIATURES for string quartet (string quartet no. 3)The Three Miniatures for string quartet (composed 1959) has a consequent experimental structure that dictates every note in the three extremely short movements. Each member of the quartet thus plays his own little melody a certain (but different) number of times so that the brand new soundscopes constantly appear in spite of the unchanging parts, due to their different length. Per Norgard.