Cantata
for the New Year's
Day. Composed by
Johann Sebastian Bach.
Edited by Michael Marker.
This edition: urtext. 1x
31.016/21 oboe 1, 1x
31.016/22 oboe 2, 1x
31.016/31 horn. Hymns by
Martin Luther: Herr Gott,
dich loben wir; Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Gott, dich loben wir 3.
Sacred vocal music,
Cantatas, New year. Set
of Orchestra Parts.
Composed 1725. BWV 16. 14
pages. Duration 18
minutes. Carus Verlag #CV
31.016/09. Published by
Carus Verlag
(CA.3101609).
ISBN
9790007204761. Language:
German/English. Text:
Luther,
Martin.
This
cantata was first
performed in Leipzig on
New Year's Day 1726. It
belongs to a small group
of compositions which
were composed between
Advent 1725 and
mid-January 1726 and
whose text were written
by the same author. There
is no reference to the
New Year in connection
with the circumcision and
naming of Jesus in this
afternoon worship
service. Rather the
thoughts in this work are
concerned with the praise
of God and thanks for his
good deeds. Score and
parts available
separately - see item
CA.3101600.
Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216).
ISBN
9781491152423. UPC:
680160909926.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: 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.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
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.
Conte
xtures: 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.
Seven
Little Pieces.
Composed by William Grant
Still. Large Score. 36
pages. Duration 12
minutes. Carl Fischer
Music #SC89L. Published
by Carl Fischer Music
(CF.SC89L).
William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following
ways:Â William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following ways:
Li’l Scamp If one
were to base his judgment
on the volume of sound,
he would think this
little fellow, who
delights in playing
childish pranks, a big
scamp. But the aptness of
the title is determined
by the brevity of the
piece rather than by the
volume of sound.
Honeysuckle A musical
suggestion of the
saccharine odor of the
honeysuckle. Dance This
title is
self-explanatory. Brown
GirlA tone picture of a
lovely girl. Mah Bones Is
Creakin’An old
man, afflicted with
rheumatism, complains
loudly. BlueThe lament of
a weary soul. Clap
Yo’
Han’sThe
participants in a game
for children form a
circle and clap their
hands at intervals.
Beatus Vir Ensemble de cuivres - Intermédiaire/avancé Alfred Publishing
By Claudio Monteverdi (1567 - 1643). Arranged by David Marlatt. For 4.2.2.1.1. B...(+)
By Claudio Monteverdi
(1567 - 1643). Arranged
by David Marlatt. For
4.2.2.1.1. Brass - Brass
Choir. Masterwork. Level:
Medium-Difficult.
Published by Alfred
Publishing.
Weihnachtskantate.
Composed by Johann Georg
Zechner. Edited by
Leonhard Riedel. Ihr
Hirten
Bethlehems.Weihnachtskant
ate. Sacred vocal music.
Choral Score. 2 pages.
Duration 20 minutes.
Carus Verlag #CV
10.377/05. Published by
Carus Verlag
(CA.1037705).
ISBN
9790007110949. Language:
German. Text: Rist,
Johann / Schirmer,
Michael. Text: Johann
Rist, Michael
Schirmer.
As the
basis for his ,,Oratorio
per il Natale Zechner
used 4 Verses of the hymn
,,Ermuntre dich, mein
schwacher Geist by Johann
Rist. He also used some
verses by another author.
The reason for the
reworking of Rist's text
was undoubtedly Zechner's
idea of writing a
dramatic compositon after
the model of the Italian
cantata, rather than a
succession of verses. It
is not insignificant that
he described this work as
an Oratorio. Score
available separately -
see item CA.1037700.
Weihnachtskantate.
Composed by Johann Georg
Zechner. Edited by
Leonhard Riedel. Ihr
Hirten
Bethlehems.Weihnachtskant
ate. Sacred vocal music.
Single Part, 2 Violins. 2
pages. Duration 20
minutes. Carus Verlag #CV
10.377/13. Published by
Carus Verlag
(CA.1037713).
ISBN
9790007190866. Language:
German. Text: Rist,
Johann / Schirmer,
Michael. Text: Johann
Rist, Michael
Schirmer.
As the
basis for his ,,Oratorio
per il Natale Zechner
used 4 Verses of the hymn
,,Ermuntre dich, mein
schwacher Geist by Johann
Rist. He also used some
verses by another author.
The reason for the
reworking of Rist's text
was undoubtedly Zechner's
idea of writing a
dramatic compositon after
the model of the Italian
cantata, rather than a
succession of verses. It
is not insignificant that
he described this work as
an Oratorio. Score and
part available separately
- see item
CA.1037700.
Piano (Piano) SKU: HL.14003425 Composed by Carol Barratt. Music Sales Ame...(+)
Piano (Piano)
SKU:
HL.14003425
Composed
by Carol Barratt. Music
Sales America.
Traditional, Children.
Book [Softcover]. 32
pages. Chester Music
#CH58735. Published by
Chester Music
(HL.14003425).
ISBN
9780711922778.
12.0x9.0x0.125
inches.
Arrangement
s of 26 favourite nursery
rhymes with full colour
illustrations and
fascinating information
on the pieces' origins.
Specially designed for
young children to be able
to play themselves rather
than just be played to.
Suitable for pre-Grade 1
to Grade 1 pianists.
Contents: Baa, Baa, Black
Sheep * Girls and Boys
Come Out to Play * Hey
Diddle Diddle * Hot Cross
Buns * I Love Little
Pussy * Jack and Jill *
Little Bo-Peep * London
Bridge * London's Burning
* One, Two, Three, Four,
Five * Pop Goes the
Weasel * Rock-a-Bye, Baby
* Sing a Song of Sixpence
* This Old Man * Three
Blind Mice * Twinkle,
Twinkle, Little Star *
Yankee Doodle * Lavenders
Blue * Little Jack Horner
* Pat a Cake * Polly Put
the Kettle On *
Pussy-Cat, Pussy-Cat *
Hickory, Dickory Dock *
Here We Go Round the
Mulberry Bush *
Ring-a-Ring o Roses *
Humpty Dumpty.
The Duxbury Fanfare Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur] Theodore Presser Co.
Chamber Music brass quintet SKU: PR.14440622S For Brass Quintet. C...(+)
Chamber Music brass
quintet
SKU:
PR.14440622S
For
Brass Quintet.
Composed by Lauren
Bernofsky. Contemporary.
Full score. With Standard
notation. Composed 1997.
8 pages. Duration 3
minutes. Theodore Presser
Company #144-40622S.
Published by Theodore
Presser Company
(PR.14440622S).
UPC:
680160626762. 9 x12
inches.
A
commission by the South
Shore Conservatory
(Duxbury, MA) led to this
exciting fanfare for
brass quintet. Says
Bernofsky, The piece
begins with a rather
fragmented-sounding
opening, and it gradually
takes shape as all the
instruments come together
to play the main theme of
the piece..
Chopin : Prelude to Te Deum Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba Eighth Note Publications
By Frédéric Chopin. Arranged by David Marlatt. For Brass Quintet. Brass Ensem...(+)
By Frédéric Chopin.
Arranged by David
Marlatt. For Brass
Quintet. Brass Ensemble -
Quintet; Masterworks;
Part(s). Eighth Note
Publications. Masterwork
Arrangement. 24 pages.
Published by Eighth Note
Publications
Horn, piano SKU: FG.55011-347-3 Composed by Tuomas Turriago. Fennica Gehr...(+)
Horn, piano
SKU:
FG.55011-347-3
Composed by Tuomas
Turriago. Fennica Gehrman
#55011-347-3. Published
by Fennica Gehrman
(FG.55011-347-3).
ISBN
9790550113473.
In
Tampere, Finland,
surprisingly many,
relatively young and
active composers with
their own distinctive
voice are making their
mark. This would not be
possible without Jouni
Kaipainen, the grand old
man of the Tampere scene.
He was both a lecturer at
the Tampere Music Academy
and the
composer-in-residence for
the Tampere Philharmonic
Orchestra, and as a true
Tampere culture person an
inspiration to the
younger generation.
Jouni's passing was a
moment of deep grief for
all of us in Tampere - we
are left with sadness and
longing. Tommi Hyytinen
commissioned a sonata for
horn and piano from me at
around that time, so I
decided to dedicate the
work in Jouni's memory.
The work passes through
different emotions and
sections within the
rather wide-arched sonata
form. The final movement
is very much in memoriam
Jouni Kaipainen. This
sonata continues my
project to write sonatas
for each solo instrument
and piano.