Trumpet

SKU: M7.AHW-501

The Early Years. Composed by Clifford Brown. Arranged by Marc Lewis. Sheet music. Performance book. Charles Colin Corp. #AHW 501. Published by Charles Colin Corp. (M7.AHW-501).

English.

Brown's unique contribution to the history of jazz and jazz trumpet playing is lovingly preserved in these artfully executed, meticulously edited transcriptions. The large, easy-to-read format (chord symbols are given) makes this ideal for the performing musician.

Baritone/Bass Book/Online Audio. Edited by Richard Walters and Richard Walter. Vocal Collection. Piece for the NFMC Vocal event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Musical Theatre, Broadway, Play Along. Softcover Audio Online. 272 pages. Published by Hal Leonard

August/September 2016. By Meghan Trainor and Pentatonix. By John Jacobson, John Williams, Mac Huff, and Roger Emerson. Arranged by Emily Crocker and John Higgins. Music Express. Softcover Media Online. 58 pages. Published by Hal Leonard

Edited by Iain Quinn. Saddle stitching. Classical. Ut Orpheus #HS 299. Published by Ut Orpheus

Volume 1. By Perpetuum Jazzile. Choral Collection. Softcover. 112 pages. Published by Hal Leonard

Mini E-Z Play Today, Volume 1. Composed by Various. Mini E-Z Play Today. Standards. Softcover. 176 pages. Published by Hal Leonard (HL.199319).

August/September 2016. By Meghan Trainor and Pentatonix. By John Jacobson, John Williams, Mac Huff, and Roger Emerson. Arranged by Emily Crocker and John Higgins. Music Express. Softcover Media Online. Published by Hal Leonard

For baritone/bass voice, piano, voice, piano and guitar chords. Format: piano/vocal songbook. With vocal melody, piano accompaniment and lyrics. Broadway. 269 pages. 9x12 inches. Published by Hal Leonard.

Guitar solo

SKU: DZ.DZ-4272

Composed by Mark Anthony Cruz. Score. Les Productions d'OZ #DZ 4272. Published by Les Productions d'OZ (DZ.DZ-4272).

ISBN 9782898521898.

En septembre 2018, le guitariste Toby McWilliams a commandé à Cruz l’écriture d’une pièce solo en trois mouvements après avoir entendu ses Five Pieces in C dans l’émission de radio internationale Classical Guitar Alive. McWilliams a demandé que le premier mouvement soit en forme sonate-allegro, suivi de deux autres pièces reflétant les choix de tempo d’une sonatine en trois mouvements typique. Comme c’est le cas pour la plupart des œuvres de Cruz, cette Sonatine a été achevée en tant que musique pure, sans programme sous-jacent. Cependant, dans sa quête de trouver des titres autres que des indications de tempo, Cruz a extrait trois mots de la correspondance entre lui-même et McWilliams qui, ensemble, ajoutent une touche personnelle à la collection tout en suggérant une progression des événements d’une journée imaginaire.

Un point d’intérêt dans le premier mouvement, le thème A : Cruz commence sur l’accord IV et évite intentionnellement d’utiliser un accord I tout au long de la pièce. Bien que la section B commence dans la tonalité de dominante, elle se dirige rapidement vers un centre tonal de ré majeur.

Festival (3ème mouvement) utilise un thème d’ouverture bitonal : mi majeur dans la voix supérieure tandis que la ligne de basse utilise mi mineur.

In September of 2018, guitarist, Toby McWilliams commissioned Cruz to write a three-movement guitar solo after hearing his Five Pieces in C on the internationally syndicated radio show, Classical Guitar Alive. McWilliams requested the first movement to be in sonata-allegro form followed by two other pieces that reflect the tempo choices of a typical three-movement sonatina. As is the case with most of Cruz’s music, this Sonatina was completed as music written for music’s sake. However, in his quest to find titles other than tempo markings, Cruz plucked three words from the correspondence between himself and McWilliams that together, add a personal touch to the collection while suggesting a progression of an imaginary day’s events.

A point of interest in the first movement, A theme: Cruz begins on the IV chord and intentionally avoids using a proper I chord throughout. While the B section does begin in the dominant key, it moves quickly towards a D major tonal center.

Festival (3rd movement) uses a bitonal opening theme: E major in the top voice while the bass line uses E minor.

By Johann Adolf Hasse. For Soli SMs, 2 Violins, Viola, Basso continuo. Full score available separately - see item CA.5070200. Oratorios; Complete editions. Piano/Vocal score. Language: Italian. Composed 1725. 80 pages. Duration 90 min. Published by Carus Verlag (German import).

Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 pages. Published by Alfred Publishing.

Voice and piano (solo: T - 2(picc.A-fl).2(ob.d'am[ad lib.].cor ang.muha).2(B-clar.S-sax. muha).2(kfg.muha) - 1.1(corn [ad lib.]).1.0 - timp.perc(3) - acc(windmachine I).hp(rainmaker.windmachi ne II).guit(rainmaker.windma chine III) - str: 1.1.2.1.1)

SKU: BR.EB-9394

A Composed Interpretation. Composed by Hans Zender. Voice; Softbound. Edition Breitkopf. World premiere: Frankfurt am Main, September 21, 1993. Song; Music post-1945. Piano/Vocal Score. Composed 1993. 120 pages. Duration 85'. Breitkopf and Haertel #EB 9394. Published by Breitkopf and Haertel (BR.EB-9394).

ISBN 9790004188682. 9 x 12 inches.

My lecture of the Winterreise does not demand a new expressive interpretation, but instead systematically exercises the freedom which all interpreters allow themselves intuitively, such as: instrumental dilation i. e. acceleration of the pace, transposition into other keys and elaboration of characteristic color timbres. In addition, there are further ways of reading; the music; jumping around in the text, repeating certain lines, interrupting the continuity, comparing different expressions of the same phrase ... All these new possibilities are subjected to my compositional discipline and form autonomous formal processes which are imposed on Schuberts original. The transformation of the piano tones into a multifaceted orchestra full of resonance is only one of many aspects.(Hans Zender)CDs:Hans Peter Blochwitz (Tenor), Ensemble Modern, Conductor: Hans Zender CD BMG 9026-68067-2 Christoph Pregardien (Tenor), Klangforum Wien, Conductor: Sylvain Cambreling CD Kairos 0012002KAIJulien Pregardien (Tenor), Deutsche Radio Philharmonie Kaiserslautern, Conductor: Robert Reimer2 CD's P.RHEI (2016)Bibliography:Adam-S chmidmeier, Eva-Maria von: Schubert interpretieren. Hans Zender: Schuberts Winterreise. Eine komponierte Interpretation im Unterricht, in: Musik und Unterricht Heft 96 (2009), pp. 50-56.Gruhn, Wilfried: Wider die asthetische Routine. Hans Zenders Version von Schuberts Winterreise, in: Neue Zeitschrift fur Musik 1/1997.Hebling, Harald: Kompositorische Schubertrezeption im 20. Jahrhundert, Magisterarbeit Universitat Wien 2003, especially pp. 148-157.Nonnenmann, Rainer: Vom Nutzen und Nachteil der Musikhistorie fur das Musikleben. Zur Kritik aktualisierender Interpretation am Beispiel von Hans Zenders Schuberts ,Winterreise, in: Musik und Asthetik 7, Heft 26 (April 2003), pp. 65-90.ders.: Schuberts ,Winterreise . Komponierte Interpretation von Hans Zender / Ballett von John Neumeier, in: Osterreichische Musikzeitung 60 (2005), Heft 3, p. 42f.ders.: Fremd bin ich eingezogen, fremd zieh ich wieder aus. Versuch zur Rettung der Vergangenheit Schuberts Winterreise. Eine komponierte Interpretation fur Tenor und kleines Orchester (1993) von Hans Zender, in ders.: Winterreisen. Komponierte Wege von und zu Franz Schuberts Liederzyklus aus zwei Jahrhunderten, 2 Bande (= Taschenbucher zur Musikwissenschaft, Band 150/151), Wilhelmshaven: Florian Noetzel 2006, pp. 143-205.Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 11-24.Revers, Peter: ... Schnee, du weisst von meinem Sehnen. Aspekte der Schubert-Rezeption in Hans Zenders Winterreise (1993), in: Dialekt ohne Erde. Franz Schubert und das 20. Jahrhundert, hrsg. von Otto Kolleritsch, Wien-Graz 1998 (Studien zur Wertungsforschung, Band 34), pp. 98-120.Schafer-Lembeck, Hans-Ulrich: Gegenstrebige Fugungen. Hans Zenders Musik und seine komponierte Interpretation von Schuberts Winterreise, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 295-307.Stahmer, Klaus Hinrich: Bearbeitung als Interpretation - Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Dohls, in: Franz Schubert und Gustav Mahler in der Musik der Gegenwart, Mainz 1998.Zender, Hans: warum wieder die Winterreise? Hartmut Regitz im Gesprach mit dem Komponisten, in: ballet.tanz - international.aktuell, Heft 12 (2001), p. 18.

World premiere: Frankfurt am Main, September 21, 1993.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11640385L

For Piccolo and Orchestra. Composed by Daniel Dorff. Large Score. 60 pages. Duration 6:30. Theodore Presser Company #116-40385L. Published by Theodore Presser Company (PR.11640385L).

UPC: 680160682904. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11640385S

For Piccolo and Orchestra. Composed by Daniel Dorff. Full score. 60 pages. Duration 6:30. Theodore Presser Company #116-40385S. Published by Theodore Presser Company (PR.11640385S).

UPC: 680160682898. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11641142S

Op. 39. Composed by Lowell Liebermann. Study Score. 84 pages. Duration 25 minutes. Theodore Presser Company #116-41142S. Published by Theodore Presser Company (PR.11641142S).

ISBN 9781491134030. UPC: 680160683772.

The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him. The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings. The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression. The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement. The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda. The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.
The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him.The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings.The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression.The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement.The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda.The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer.

Composed by Jonathan Willcocks. For soprano voice and baritone voice soloists, SATB choir and orchestra. Octavo. Scripture: Psalms of David; Text Language: English. Published by MorningStar Music Publishers

Choral TTBB choir, piano

SKU: CF.CM9635

Composed by Victor Johnson. Fold. Performance Score. 12 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9635. Published by Carl Fischer Music (CF.CM9635).

ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).

Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).
About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.” The singer should make a motion as if they have a paintbrush in their hand and “paint” the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.

Orchestra (2(picc).2(cor ang).2.B-clar.2. - 4.3.3.1. - timp.perc(3) - hp - str)

SKU: BR.PB-3880-07

Visions. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library). World premiere Dusseldorf, September 19, 1963
CD
Radiosinf onieorchester Stuttgart, Ltg. Hans Muller-Kray
CD Thorofon CTH 2270. Music post-1945. Study Score. Composed 1962/63. 68 pages. Duration 17'. Breitkopf and Haertel #PB 3880-07. Published by Breitkopf and Haertel (BR.PB-3880-07).

ISBN 9790004202166. 6.5 x 9 inches.

World premiere Dusseldorf, September 19, 1963 CD: Radiosinfonieorchester Stuttgart, Ltg. Hans Muller-Kray CD: Thorofon CTH 2270

World premiere Dusseldorf, September 19, 1963CD Radiosinfonieorchester Stuttgart, Ltg. Hans Muller-KrayCD Thorofon CTH 2270.

Concert Band - Grade 1

SKU: AP.37781

Composed by John O'Reilly. Concert Band; Performance Music Ensemble; Single Titles. Accent on Achievement. Form: March. 4th of July; Patriotic; Summer. Score and Part(s). 118 pages. Duration 1:30. Alfred Music #00-37781. Published by Alfred Music (AP.37781).

UPC: 038081437309. English.

Patriot Day occurs on September 11 of each year in memory of the 2,977 people who died in the terrorist attacks of September 11, 2001. This march, which was actually written on Patriot Day 2011, is the perfect vehicle for beginning band students to express their patriotism. Using only the first seven notes taught in most beginning method books, rhythmic interest is provided by various combinations of repeated-pitch eighth note patterns. (1:30).

Piano

SKU: BR.EB-9254

Composed by Christian Mason. Solo instruments; stapled. Edition Breitkopf.

Repertoire piece for the final round of the 61th International Ferruccio Busoni Piano Competition, Bolzano, August 22 - September 1, 2017

New music (post-2000). Score. Composed 2006/09. 12 pages. Duration 7'. Breitkopf and Haertel #EB 9254. Published by Breitkopf and Haertel (BR.EB-9254).

ISBN 9790004185544. 9 x 12 inches.

Repertoire piece for the final round of the 61th International Ferruccio Busoni Piano Competition, Bolzano, August 22 - September 1, 2017.

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Jeanette Morgan. For unison choir, Orff Instrument. Games and CD. Published by Heritage Music Press

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Organ and 1 melody inst.

SKU: BR.EB-9208

Composed by Adriana Holszky. Solo instruments; stapled. Edition Breitkopf.

World premiere: Stuttgart, September 7, 1990

Music post-1945; New music (post-2000). Performance score. Composed 1985/90. 32 pages. Duration 28'. Breitkopf and Haertel #EB 9208. Published by Breitkopf and Haertel (BR.EB-9208).

ISBN 9790004184042. 10.5 x 14 inches.

CD: Jens Brulls (percussion), Dominik Susteck (organ) CD WERGO WER 6789 2 Edith Salmen-Weber (percussion), Friedemann Herz (organ) Koch-Schwann-Aulos 3-1766 2

World premiere: Stuttgart, September 7, 1990.