Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500102F

Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F).

ISBN 9781491131749. UPC: 680160680276.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Violin

SKU: HL.48181200

For Violin and Piano. Composed by Raymond Gallois Montbrun. Leduc. Classical. Softcover. 4 pages. Alphonse Leduc #AL20484. Published by Alphonse Leduc (HL.48181200).

UPC: 888680866945. 9x12 inches.

Raymond Gallois Montbrun (1918-1994) published his Dream of Janceline for Alto Saxophone and Piano in 1947, just three years after he won the Grand Prix de Rome. Along with his Violin Concerto, Japan Symphony and Concertstück for Clarinet and Piano, Dreams of Janceline for Violin and Piano remains popular to this day. Dreams of Janceline for Violin is made up of twelve easy pieces in variety of styles, the seventh of these being The Nightingale's Polka. This movement addresses harmonics, a modulation and articulation, among other aspects. As suitable and varied pieces for the progression of beginner to intermediate level violinists, Gallois Montbrun's Dreams of Janceline cannot be missed.

A violin method for children age four and older. By Egon Sassmannshaus; Kurt Sassmannshaus. American English translation: Kurt Sassmannshaus and Melissa Lusk; Illustrations: Charlotte Panowsky. For Violin. Take advantage of our exclusive introductory offer now and save 25% off the regular price - this special price is available for a limited time only. Baerenreiter's Sassmannshaus. Original German title: Fruher Anfang auf der Geige - Band 1; Eine Violinschule fur Kinder ab 4 Jahren. Instructional Method. Method book. Text language: English. 64 pages. Published by Baerenreiter Verlag (German import).

2 Pianos, 4 Hands; Piano (pic.2.2.ca.Ebcl.2.bcl.2. cbsn-4.3.3.1-timp.6perc(2 s.d, b.d, ten d, 5cym, 4tam-t, 3tamb, 3tri, tub bells, crots, bng, mar, tempbl, wdbl, cast, whip, glsp, vib, xyl)-2hp)

SKU: HL.49002570

Composed by Elisabeth Lutyens. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Piano Reduction for 2 Pianos. Composed 1961. Op. 46. 32 pages. Duration 17'. Schott Music #ED 10907. Published by Schott Music (HL.49002570).

ISBN 9790220105852. UPC: 073999373080. 8.5x11.5x0.125 inches.

Reduction for two pianos.

Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

Orchestra (2.2.2.2/4.2.3.0,timp,str )

SKU: TM.06615SC

Composed by Robert Schumann. Score. Lucks Music Library #A2020. Published by Lucks Music Library (TM.06615SC).

Transposed: Cl 1&2, Hn 1&3&4, Tpt 1&2, Tbn 1&2. Standard performance edition. Transposed parts can only be used with this edition - not compatible with original 1841 version, #05967. Clothbound score.

Viola (solo: pno - 1.2.2.2. - 2.2.0.0. - timp - str)

SKU: BR.OB-14620-19

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Hans-werner Kuthen. Stapled. Orchester-Bibliothek (Orchestral Library). The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag. Solo concerto; Classical. Part. 12 pages. Duration 34'. Breitkopf and Haertel #OB 14620-19. Published by Breitkopf and Haertel (BR.OB-14620-19).

ISBN 9790004335864. 10 x 12.5 inches.

Ludwig van Beethoven wrote his Piano Concerto no. 4 in 1805, thus contemporaneously with the opera Fidelio and the Symphonies nos. 5 and 6. The first performance took place on 22 December 1808 at the now legendary academy (subscription concert) in which Beethoven presented the two new symphonies and the Choral Fantasy op. 80 to the Viennese public for the first time. The work was first published that year by Breitkopf & Hartel. The autograph of the score is no longer extant. The principal source of the musical text on which the present edition is based is a scribal copy examined and corrected by Beethoven.

Violoncello (solo: pno - 1.2.2.2. - 2.2.0.0. - timp - str)

SKU: BR.OB-14620-23

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Hans-werner Kuthen. Stapled. Orchester-Bibliothek (Orchestral Library). The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag. Solo concerto; Classical. Part. 12 pages. Duration 34'. Breitkopf and Haertel #OB 14620-23. Published by Breitkopf and Haertel (BR.OB-14620-23).

ISBN 9790004335871. 10 x 12.5 inches.

Ludwig van Beethoven wrote his Piano Concerto no. 4 in 1805, thus contemporaneously with the opera Fidelio and the Symphonies nos. 5 and 6. The first performance took place on 22 December 1808 at the now legendary academy (subscription concert) in which Beethoven presented the two new symphonies and the Choral Fantasy op. 80 to the Viennese public for the first time. The work was first published that year by Breitkopf & Hartel. The autograph of the score is no longer extant. The principal source of the musical text on which the present edition is based is a scribal copy examined and corrected by Beethoven.

Double bass (solo: pno - 1.2.2.2. - 2.2.0.0. - timp - str)

SKU: BR.OB-14620-27

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Hans-werner Kuthen. Stapled. Orchester-Bibliothek (Orchestral Library). The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag. Solo concerto; Classical. Part. 12 pages. Duration 34'. Breitkopf and Haertel #OB 14620-27. Published by Breitkopf and Haertel (BR.OB-14620-27).

ISBN 9790004335888. 10 x 12.5 inches.

Ludwig van Beethoven wrote his Piano Concerto no. 4 in 1805, thus contemporaneously with the opera Fidelio and the Symphonies nos. 5 and 6. The first performance took place on 22 December 1808 at the now legendary academy (subscription concert) in which Beethoven presented the two new symphonies and the Choral Fantasy op. 80 to the Viennese public for the first time. The work was first published that year by Breitkopf & Hartel. The autograph of the score is no longer extant. The principal source of the musical text on which the present edition is based is a scribal copy examined and corrected by Beethoven.

Piano - intermediate

SKU: HL.44005883

Arranged by Thomas A. Johnson. Fentone Instrumental Books. Educational Tool. Book Only. Fentone Music #F612. Published by Fentone Music (HL.44005883).

UPC: 884088043537. English.

An exciting album of well known classical works by leading 19th and 20th Century composers, arranged for one paino four hands.

Inhoud: Largo from The New World Symphony (Dvorak) * Cavatina Op. 86 Nr. 4 (Raff) e.a.

By Felix Bartholdy Mendelssohn (1809-1847). Arranged by Robert Frost. For string orchestra (88555). Standard string orchestra (88555). Concert String Orchestra Series. Grade 4. Score and parts. Duration 5:10. Published by Kendor Music Inc

Joy Of. Book Only. 80 pages. Yorktown Music Press #YK21095. Published by Yorktown Music Press

Orchestra (2.2.2.2/4.2.3.0,timp,1 perc,hp,str)

SKU: TM.06143SET

Composed by Antonin Dvorak. Set Type: D. Set of parts. Lucks Music Library #A7871. Published by Lucks Music Library (TM.06143SET).

Solo/pf.

Orchestra (Parts)

SKU: HL.14032244

Set of Parts. Composed by Carl August Nielsen. Music Sales America. Classical. Softcover. Edition Wilhelm Hansen #CN00013A. Published by Edition Wilhelm Hansen (HL.14032244).

UPC: 888680736590. 9.5x14.5x3.165 inches.

Carl Nielsen Collected Works Section II: Vol. 4.

(2013 Edition). Composed by The Royal Conservatory Music Development Program. For trumpet. This edition: 1st edition. Trumpet Series. Late Intermediate to Advanced. Method book. 40 pages. Published by The Frederick Harris Music Company

By Otto M. Schwarz. (Score and Parts). De Haske Concert Band Full Set. Published by Mitropa Music.

Bassoon

SKU: SU.94010764

For Bassoon. Composed by James Lee III. Woodwinds, Bassoon. Score. Subito Music Corporation #94010764. Published by Subito Music Corporation (SU.94010764).

Dedicated to Bryan Young, Principal Bassoon, Baltimore Chamber OrchestraBassoon Duration: 5'3 Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

Flute and Piano (FLUTE AND PI)

SKU: HL.50488067

By Janos Szebenyi. By Franz Anton Rosler Rosetti. Baroque. EMB. Book [Softcover]. Editio Musica Budapest #Z3948. Published by Editio Musica Budapest (HL.50488067).

ISBN 9790080039489. A/4 inches. Janos Szebenyi.

Already during his lifetime Rossler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in G major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Szekesfehervar. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Vegh.

Rossler-Rosetti genoss noch bei Lebzeiten grosse Popularitat. Seine Opern und Sinfonien erzielten grossen Erfolg, ein beideutender Teil davon ist auch im Druck erschienen. Sein Requiem wurde in Prag 1792 anlasslich der Mozart-Gedenkfeierlichkei t aufgefuhrt. Er komponierte viele Konzerte fur Klavier, Violine, Violoncello, Flote, Klarinette, Fagott, Horn und verschiedene Ensembles. Von seinen vierzehn Flotenkonzerten ist das hier erscheinende G-Dur Konzert in Breitkopfs thematischem Katalog Supplement XII (1778) auf Seite 25 erwahnt. Das Werk wird im zeitgenossischen Manuskript der Orchesterstimmen im Istvan Kiraly (Konig Stephan) Museum zu Szekesfehervar aufbewahrt,wohin es 1951 mit der reichen Bucher- und Notensammlung der Familie Vegh von Vereb gelangte.