Grade 2

SKU: CL.032-4623-01

Composed by Neeck. Jazz Ensemble. Extra full score. Composed 2018. Duration 2 minutes, 51 seconds. C.L. Barnhouse #032-4623-01. Published by C.L. Barnhouse (CL.032-4623-01).

This breezy, swinging arrangement of the classic carol It Came Upon A Midnight Clear will be a hit at your holiday concert! The melodies are nicely stated over colorful unison lines and some punchy brass support. The change-of-pace middle section is established by the insistent tom-tom rhythm (a la Krupa!), while the band builds up the riffs to a powerful climax. The modest solo changes (suggested solos are included) will encourage your students to give it a try. This appealing holiday chart is perfect for that jazz moment in your holiday concert!

By Brian Balmages. Young Band. FJH Young Band. Moscow, 1941 was commissioned by the Perry Hall Middle School Band and funded by the PTA. Directors Nwil Fishler and Kelly Clavell asked that the piece be dedicated to Larry Bondar, a music teacher who has been affecting the lives of students for over 40 years, and an icon in the Baltimore area. Mr. Bondar is of Russian descent, so it seemed fitting that the commission be based on one of Russia's most famous songs, Meadowlands. Score for this title: B1320S. Concert Band. Level: 2.5. Score and Set of Parts. Composed 2006. Published by The FJH Music Company Inc.

Grade 4

SKU: CL.012-3617-00

Composed by C. McBride. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR349). Score and set of parts. Composed 2007. Duration 5 minutes, 22 seconds. Opus III Wind Orchestra Publications #012-3617-00. Published by Opus III Wind Orchestra Publications (CL.012-3617-00).

Commemorating a landmark event in history, Cory McBride sets out to replicate the awe of the New Madrid Earthquake of February 12, 1812, which affected over 1 million square miles and was powerful enough to change the route of the Mississippi River. Featuring an insistent motive that is supported by intertwined counterpoints, the vigilant beginning leads to a chorale-like middle section, expressing the dismay after the quake, which is soon followed up by an emotionally ending. The piece contains challenges for every instrument and is well-suited for more experienced groups. Amid the Great Displace is a fantastic choice for concert or contest and will be inspiring programming for your students and audiences.

About C.L. Barnhouse Spotlight Series

The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments

Chamber Music Piano

SKU: PO.PE014

Composed by Gareth Farr. Performance Score. Composed 2000. Promethean Editions #PE014. Published by Promethean Editions (PO.PE014).

ISBN 9781877218149.

Idea l for pianists looking for a work heavy in bravura, Sepuluh Jari is an exhilarating toccata incorporating non-Western styles. Drawing on the Indian saraswati scale and Balinese pelog scale for its harmonic material, Farr creates cascading scalar passages that eventually arrive at joyous declamatory moments. Its challenging passages require swift finger work, with insistent pulsed material is interspersed with elastic rushes of energy and brief snatches of stillness and reflection.

Symphonic Works (Study Score)

SKU: HL.50510037

Score. Composed by Bela Bartok. Edited by D Dille. Arranged by D. D.ille. 20th Century. EMB. Pocket score. 44 pages. Editio Musica Budapest #Z40032. Published by Editio Musica Budapest (HL.50510037).

ISBN 9790080400326. UPC: 073999667134. 5.5x8.0x0.139 inches. Bela Bartok; Denijs Dille.

'Bartok wrote 'Two Rumanian Dances' for piano, op.8a in 1909-1910 and arranged the first of the pair for orchestra in time for a concert on 12 February 1911. The highly positive reviews of the premiere describe the dance as brilliantly orchestrated, bizarre in its harmonies, and orgiastic in its conclusion. The A sections of its ABA form insistently repeat a four-bar theme that is itself composed of internal repetitions. Bartok maintains interest in the material by varying the orchestration, and, in the final section, with sudden breaks and changes in tempo. The slow middle section has a more vocal and impassioned emotional quality than the mechanistic dance that surrounds it. Bartok wrote in 1931 that although the work was inspired by Rumanian folk music, the themes were entirely his own.' (HCD 32506 Bartok New Series Vol. 6, David E. Schneider).

Vocal and Piano

SKU: HL.50498806

Composed by Cecil Armstrong Gibbs. Vocal Solo. Classical. Softcover. Composed 2015. 8 pages. G. Schirmer #JC02565. Published by G. Schirmer (HL.50498806).

English.

Cecil Armstrong Gibbs was a prolific and versatile English composer of the 20th century. Gibbs is best known for his output of songs, but he also wrote a considerable amount of music for the amateur choirsthat he conducted. His reputation as a song-writer largely lies in his natural gift for text setting - he insisted on giving priority to the words over the music and had very clear musical ideas on what a song shouldbe.

These principles prevailed when writing The Cherry Tree in 1949 - the Voice is clearly put to the foreground, with the Piano only supporting the singer in the background, so a confident and capableperformance is needed from the soloist. Words by Margaret Rose. Performance time approximately 3 minutes.

Score and Parts. Composed by Evgeny Kissin. Sheet Music. Paperbound. Henle Music Folios. Classical. Set of Parts. 28 pages. G. Henle #HN1183. Published by G. Henle

Piano

SKU: HL.49045635

Piano Solo. Composed by Kenji Sakai. Piano. Classical. Softcover. Zen-On #ZN169302. Published by Zen-On (HL.49045635).

This is my first work for piano, except for studies. The 'bell' and 'cloud' in the subtitle are metaphors of motifs used in this piece. The motif representing the sound of the 'bell' in Le gibet, the second of Gaspard de la nuit by Maurice Ravel, is transferred here and tolled insistently from the beginning. The motif gradually loses its figure and transforms into tremolos which represent 'clouds'. I name the process 'Disincarnations.' The work represents the transforming process itself. -Kenji Sakai.

By Mary Mcdonald. For SATB choir, piano (with optional instrumental accompaniment). Sacred Anthem, Ascension, Christ the King, General, Holy Week. Octavo. Published by Lorenz Publishing Company

Grade 3

SKU: CL.012-4646-00

Composed by Jarvis. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR395). Score and set of parts. Composed 2018. Duration 2 minutes, 37 seconds. Opus III Wind Orchestra Publications #012-4646-00. Published by Opus III Wind Orchestra Publications (CL.012-4646-00).

Defiance presents a musical representation of bold and daring resistance to authority, opposing forces, or differing beliefs. This high energy musical work immediately demands the attention of the listener and performer! Solid brass writing is balanced with excellent woodwind lines - each assertively stating the musical themes while being insistently pushed forward by relentless (and very fun to play) percussion. Your students will enjoy performing this very exciting, bold, and daring piece!

Piano - Early Intermediate; Late Elementary

SKU: FJ.FJH2319

1. Composed by Edwin Mclean. Piano Collection; Piano Supplemental. Composers in Focus. Contents: Where the Horses Roam Jalopy Town Appalachian Ballad Little Prelude in C Scherzetto Marionette Reminiscence The Haunted Guitar Landing on Planet Tritonius Black Key Country Insistence. Book. The FJH Music Company Inc #98-FJH2319. Published by The FJH Music Company Inc (FJ.FJH2319).

ISBN 9781619282575. UPC: 024144440119. English.

These short, artistic solos offer a variety of moods and styles that will appeal to both younger students and adults. Most of the eleven pieces are two pages and are good preparation for classical literature.

About FJH Composers in Focus

Comp osers in Focus is a series of original piano collections celebrating the creative artistry of contemporary composers. It is through the work of these composers that the piano teaching repertoire is enlarged and enhanced.

By Kevin Olson. For Piano. Written For You. Solo Sheet. Published by The FJH Music Company Inc.
Level: Early Intermediate.

Strings String Quartet (Study Score)

SKU: HL.51487183

Study Score. Composed by Evgeny Kissin. Study Score. Paperbound. Henle Study Scores. Classical. Softcover. G. Henle #HN7183. Published by G. Henle (HL.51487183).

ISBN 9790201871837. UPC: 888680986568. 6.5x9.5x0.086 inches.

Redolent of the work of Dmitri Shostakovich in its musical language, Evgeny Kissin's String Quartet op. 3 comprises four strongly contrasting movements: on the heels of the stately “Adagio liberamente” comes an extremely lively “Allegro inquieto” that wanders between dynamic extremes and bristles with glissandi. The third movement, marked “Largo drammatico,” is sustained by an insistent, heavily rhythmic dotted motive, while the final movement shifts from the introduction, marked “Pensierosamente, ma mantenendo strettamente il ritmo puntato,” into a brilliant finale, “Molto allegro e sarcastico,” that is suffused with elements of fugato and,like all movements, informed by dodecaphonic harmonies. This demanding fifteen-minute work was composed in 2015-16 and recorded for the first time on Nimbus Records by the Kopelman Quartet.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

Brass Band - Grade 3

SKU: BT.GOB-000495-030

Composed by Andrew R. Mackereth. Set (Score & Parts). 22 pages. Gobelin Music Publications #GOB 000495-030. Published by Gobelin Music Publications (BT.GOB-000495-030).

From the composer:

High Flyers are regarded as people with promise and potential.They are winners.
This is music for winners.

The title, as well as being a play-on-words, implies the nature of the work. It is a bright, optimistic, and upbeat piece attempting to depict an exhilarating ride on flying carpet.
The opening rising chords immediately suggest the gentle elevation of the carpets' ascent towards unknown heights, leading to a hint of a first theme in the horns at Fig. B.
The first four notes provide the thematic material for the whole work: C F G A.
A perpetual sense of movement is achieved through accented quaver chords punctuating the melodicmaterial of the first main theme.
Fig. E sees the music of the opening bars fully realised, with flourishes from the euphonium and baritones representing swirling clouds, shooting stars, or passing birds in flight.
The same subject is developed into a lyrical second theme with a new lush harmonic treatment, evocative of gliding over an expanse of sparse countryside.This section ends with a note of serenity but is shattered by the urgent insistence of the percussion rhythms.
The third section introduces a new idea with a slightly distorted fanfare in the cornets and trombones.
This figure suggests for the first time that there may be trouble ahead. In fact, there is no need to fear and the journey can continue without aggravation. This fanfare returns near the end to signal a final note of triumph.
A new rhythmic variant of the cell motif emerges as the third theme now transformed by the addition of a triplet figure.
The music steadily gains momentum before moving inexorably towards the climactic return of the music and tonality of the opening bars of the piece.

By Gwyneth W. Walker (1947-). For SATB Choir divisi and piano (Mixed Voices). General. Choral. Moderately easy. Piano/Vocal Score. 16 pages

Piano

SKU: LH.LMP-P0302

Composed by Jeff Smallman. Piano Score. Composed 2003. 12 pages. Duration 3:55. Lighthouse Music Publications #LMP P0302. Published by Lighthouse Music Publications (LH.LMP-P0302).

8.5 x 11 inches.

Driving and insistent from the beginning, Arabesque is filled with the sounds of Impressionist music. Virtuosic in nature, this work demands advanced technique from the performer.

(Piano Reduction). By David Maslanka. For Solo Alto Saxophone, Piano reduction. Piano reduction. 68 pages. Duration 42 minutes. Published by Carl Fischer

Concert Band; Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set

SKU: AP.36-A134702

Composed by Johannes Brahms. Full Orchestra, Solo Strings with Ensemble, Conductor Score & Parts. Kalmus Orchestra Library. Score and Part(s). LudwigMasters Publications #36-A134702. Published by LudwigMasters Publications (AP.36-A134702).

UPC: 659359985690. English.

Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

By Ralph Manuel. For TTBB choir and keyboard. Choral Music. Level: Medium-Easy. Published by MorningStar Music Publishers.