Clarinet

SKU: ST.Y214

Composed by Morgan Hayes. Wind & brass music. 1 minute 30 seconds. Score. Stainer & Bell Ltd. #Y214. Published by Stainer & Bell Ltd. (ST.Y214).

ISBN 9790220221293.

1st perf: Douglas Mitchell, Clare Hall, Cambridge, 26 October 2002

Morgan Hayes's Totem, for B flat clarinet, is a short, single melodic line that in its brief duration challenges players of Grades 7 or 8 standard or above to encompass widely contrasted dramatic and lyrical moods within the primitive vision of its title. The composer had no specific ethnological source in mind when composing this piece. Rather, his aim was to suggest the complex rhythms and rituals of tribal life, remote in time from the sophistications of the modern world, but in spirit closer perhaps to our own than we might care to imagine.

By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Published by Hal Leonard.

Oboe

SKU: ST.C474

Composed by Mark Goddard. Wind & brass music. Clifton Edition #C474. Published by Clifton Edition (ST.C474).

ISBN 9790570814749.

Tricks and Games comprises a series of short and contrasting pieces, in a light, yet essentially modern idiom. Parts are intended to be played by two pupils of similar abilities, rather than by teacher and pupil, with the aim of public rather than private performance.

Oboe duet
Grades 3–6
Former Spartan Press Cat. No.: SP131.

By Alfred Reed (1921-2005). For Concert Band. Original Pieces / The Best Original Pieces for Concert Band. Masterpieces. Grade 5. Score and Parts. Published by Molenaar Edition

Composed by Stephen McManus. For organ. Bachian fuges - think Saint Anne in Eb. General. Published by CanticaNOVA Publications

Organ solo, Timpani, Percussion, 2 Violins, Viola, Cello, basso continuo

SKU: CA.1808549

Composed by Kay Johannsen. Concerto For Organ, Strings And Perc. Free organ music. Single Part, Organ. Composed 2014. 24 pages. Duration 18 minutes. Carus Verlag #CV 18.085/49. Published by Carus Verlag (CA.1808549).

Language: all languages.

The Concerto for organ, strings and percussion by Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, is a valuable addition to the repertoire for organ and orchestra. It is a work composed to appeal to both performer and audience alike - with thrilling rhythmic sections as well as moments of great intimacy. The organ part, for a three manual instrument if possible, is shown to its best advantage in many and varied tonal colors, ranging from the most delicate solo registrations to powerful forte. The organ writing is demanding, but well within the capabilities of experienced organists. Precise registration suggestions are contained in the score. The string orchestra (minimum 4/4/3/3/1) is scored with sophistication, with solos for all instruments. The percussion is for two players - a part for timpani and one for other, readily available percussion instruments. By avoiding the use of wind and brass instruments, the work can also be performed where the tuning of the organ is not ideally suited to modern orchestral pitch. Score and part available separately - see item CA.1808500.

Organ solo, Timpani, Percussion, 2 Violins, Viola, Cello, basso continuo

SKU: CA.1808500

Composed by Kay Johannsen. Concerto For Organ, Strings And Perc. Free organ music. Full score. Composed 2014. 48 pages. Duration 18 minutes. Carus Verlag #CV 18.085/00. Published by Carus Verlag (CA.1808500).

ISBN 9790007163952. Language: all languages.

The Concerto for organ, strings and percussion by Kay Johannsen, Kantor of the Stiftskirche in Stuttgart, is a valuable addition to the repertoire for organ and orchestra. It is a work composed to appeal to both performer and audience alike - with thrilling rhythmic sections as well as moments of great intimacy. The organ part, for a three manual instrument if possible, is shown to its best advantage in many and varied tonal colors, ranging from the most delicate solo registrations to powerful forte. The organ writing is demanding, but well within the capabilities of experienced organists. Precise registration suggestions are contained in the score. The string orchestra (minimum 4/4/3/3/1) is scored with sophistication, with solos for all instruments. The percussion is for two players - a part for timpani and one for other, readily available percussion instruments. By avoiding the use of wind and brass instruments, the work can also be performed where the tuning of the organ is not ideally suited to modern orchestral pitch.

Woodwinds (solo: db - 0.2.0.1(ad lib.) - 2.0.0.0 - harps - str)

SKU: BR.OB-15143-30

Urtext. Composed by Johann Baptist Vanhal. Edited by Tobias Glockler. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). In Cooperation with G. Henle Verlag. Solo concerto; Early classical; Classical. Set of parts. 16 pages. Duration 20'. Breitkopf and Haertel #OB 15143-30. Published by Breitkopf and Haertel (BR.OB-15143-30).

ISBN 9790004342046. 10 x 12.5 inches.

The unbroken popularity of Vanhal's sole double bass concerto in competitions and for practice and concert purposes is reason enough for us to publish the work in Breitkopf Urtext. The edition profits from Tobias Glockler's experience of many years. As with the other great double-bass concertos of the classical Viennese repertoire (Dittersdorf, Hoffmeister), Glockler arrives at convincing solutions. He began by filtering out a solid musical text from the source (which was not always free of contradictions) that was supplied with many additions. The disposition of the solo part required detailed knowledge of performance practice, since the work was written in the historical Viennese double bass tuning, and a few passages cannot be played without difficulty on a modern instrument. As with Dittersdorf and Hoffmeister, the piano reduction makes it possible to use three different double-bass tunings (solo, orchestral and Viennese). Moreover, it contains the editor's virtuoso cadenzas as well.I have performed the Vanhal in Viennese tuning and it was my thesis topic so I am thrilled to see an edition that makes this tuning so accessible. I highly recommend this all-encompassing edition. (Marian Heckenburg, Stringendo).

SKU: HL.48024944

Trumpet and Piano. Composed by Jonathan Freeman-Attwood and Thomas Oehler. Boosey & Hawkes Chamber Music. Softcover. 114 pages. Boosey & Hawkes #M060136528. Published by Boosey & Hawkes (HL.48024944).

ISBN 9781784545543. UPC: 840126946819. 9.25x12.0x0.337 inches.

If there was ever a composer in the modern era from whom instrumentalists would hanker for a sonata or concerto, Richard Strauss must be right up there. His wide-ranging orchestral and operatic creations bleed with gloriously idiomatic writing for every instrument, and yet only the piano, violin, clarinet (in tandem with the bassoon), oboe and horn can really claim to have bespoke solo works from the composer's seamlessly productive pen, and collectively they form only a small proportion of the composer's output. No mere transcription, this three-movement Sonata after Richard Strauss extends well beyond a redeployment of the composer's music to fit a new idiom, filling the gaping chasm of 'serious' late-Romantic recital material for trumpet players, to be performed in toto or as Drei Konzertstücke. Thomas Oehler and Jonathan Freeman-Attwood have drawn on a wide range of Strauss's works to create the new offering, including the Violin Sonata, Von den Hinterweltlern (Also sprach Zarathustra), the Serenade for Winds ('From an invalid's workshop') and Zerbinetta's Aria (Ariadne auf Naxos).

Woodwinds - Beginning

SKU: MB.31002

Composed by Robert Bancalari. Saddle-stitched. Recorder. Book and online audio. 16 pages. Mel Bay Publications, Inc #31002. Published by Mel Bay Publications, Inc (MB.31002).

ISBN 9781513474588. 8.75x11.77 inches.

This volume focuses on the medieval period from approximately the sixth to fifteenth centuries. The music of this era was traditionally performed as plainchant (sacred) or monophony (secular), that is, as a vocal melody, here reserved for the soprano recorder. Seeking to emulate medieval performance practice, the 20 tunes in this collection are accompanied by a single, drone-like power or 5-chord to be played on a modern-day stringed instrument such as guitar, mandolin or banjo. These simple troubadour songs are ideal for beginners and experienced players alike, who want to be transported back in time, immersed in a bygone era of music. .

Woodwinds (solo: vce - 2(picc).2(cor ang).2.B-clar.2.dble bsn - 4.1.2.0 - timp.perc - hp - cel - str)

SKU: BR.OB-5534-30

For Voice and Orchestra - Urtext. Composed by Alban Berg. Edited by Michael Kube. Voice; Folder. Orchester-Bibliothek (Orchestral Library). Here you will find the version for voice and piano.

Awarded the German Music Edition Prize 2016. Song; Early modern. Set of parts. 78 pages. Duration 16'. Breitkopf and Haertel #OB 5534-30. Published by Breitkopf and Haertel (BR.OB-5534-30).

ISBN 9790004341810. 10 x 12.5 inches.

Written early, orchestrated lateThe cycle Seven Early Songs on texts by Lenau, Rilke, Storm and other poets was put together in 1928, more than 20 years after the composition of the individual songs. From the large amount of songs for voice and piano that he had written in his early years, Alban Berg selected seven of them which he then orchestrated. After serious consideration, he laid down a definitive sequence in which the tempo constantly alternates while the orchestral instruments symmetrically recede before picking up again. Once the piano and orchestral editions were printed, the Seven Early Songs quickly conquered concert halls in both scorings. They are still at home on the concert stages of the world today which is reason enough to present this work by Alban Berg in an Urtext edition following the Violin Concerto. The orchestral material can now be purchased for the first time.

Awarded the German Music Edition Prize 2016.

Clarinet and Piano

SKU: ST.C143

Composed by Alexander Glazunov. Wind & brass music. Clifton Edition #C143. Published by Clifton Edition (ST.C143).

ISBN 9790570811434.

Alex ander Konstantinovich Glazunov (1865-1936) trained under Rimsky- Korsakov and became the most illustrious Russian composer and conductor immediately succeeding Tchaikovsky. Glazunov’s close affinity with the Saint Petersburg Conservatory, of which institution he would later become Director for more than two decades, placed him ideally to assist in the Institute’s transition to the Petrograd Conservatory in the immediate wake of the Bolshevik Revolution of 1917. For the last six years of his life, Glazunov left the USSR, feeling hemmed in by propagandist restrictions and at the same time out of kilter with the Modernist movement.

He lived in exile for a time, touring the USA, before eventually settling in Paris, though his stoical brand of Russian Romanticism never waned. Despite being partly remembered for having taught Shostakovich, Glazunov was never known as a revolutionary composer, more inclined to align himself with 19th century ideologies than with the thrusting new compositional paths forged by Prokofiev and others. Indeed, the nationalistic movement so successfully espoused by Balakirev found a new energy in Glazunov’s hands, and he discovered an opulence of scale which leaned more in the direction of Borodin.

There can be no doubting Glazunov’s technical mastery, which successfully drew together contrapuntal, lyrical and virtuosic skills, and which were admired by the likes of Liszt. Glazunov steered a steady course at a time when it was most sorely needed; one need only hear the marvellous Violin Concerto in A minor to experience the full power and authority of his writing, though he possessed an enviable touch with more intimate forms too, such as those readily to be heard in these three charming Miniatures Op.42, originally composed for piano.
Clarinet and Piano
Transcribed by M ark Tanner
Grades 6 & 7 (Trinity Grades 6 & 7 syllabuses)
Former Spartan Press Cat. No.: SP1360.

Big band (Clarinet (Solo), Soprano Sax 1, Soprano Sax 2, Tenor Sax, Baritone Sax, Trumpet 1 (Solo), Trumpet 2-3, Trombone 1-3, Piano (Solo), Banjo (optional), Bass, Drums) - advanced to difficult

SKU: M7.SMP-171

Swing. Composed by Jelly Roll Morton. Arranged by Jackson Stock. Sheet music. Swing. Score and parts. Handelsware #SMP 171. Published by Handelsware (M7.SMP-171).

English.

This chart is destined to become a best-seller because of its unique and exciting format ... an orchestration of Jelly Roll Morton's original recording of one of his most famous compositions. The arranger has successfully captured the spirit of the '20's with the modern big band. Scored for 5 woodwinds (incl. clarinet and 2 soprano saxes) 6 brass and 4 rhythm, this is one piece that your band and audiences will ask for again and again. 5-3-3-4.

Woodwinds (3(2picc).3(cor ang).2.B-clar.A-sax.2.dbl e bsn - 4.3.3.1 - timp.perc(4) - 2 hp - cel - str)

SKU: BR.OB-5532-30

Urtext of the Orchestration. Composed by Mussorgsky/Ravel. Edited by Jean-Francois Monnard. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Set of parts. 294 pages. Duration 30'. Breitkopf and Haertel #OB 5532-30. Published by Breitkopf and Haertel (BR.OB-5532-30).

ISBN 9790004348253. 10 x 12.5 inches.

Ravel's brilliant compositional interpretation of the Pictures at an Exhibition is, to this day, the most famous and independent orchestration of Mussorgsky's masterpiece. When the French composer turned his attention to his Russian colleague's piano cycle in 1922, he was at the height of his mastery and Paris was enraptured by Russian music. Notated with remarkable accuracy in an autograph score, Ravel's orchestration was an audience favorite from the very start. Jean-Francois Monnard, who previously edited the Breitkopf Urtext editions of Bolero, La Valse and Rapsodie espagnole, presents a text in which even the tiniest detail is authentic. The edition not only eliminates many previously undiscovered errors, but also offers a wealth of practical information on the long and multi-faceted performance history of the work, including the metronome markings of great conductors who were connected to the work in a very special manner.Bibliography:Mayer , Stephan: Sonne fur die Seele. Ein lehrreicher Nachmittag am Genfer See, in: Musikforum, 2015, Heft 4, pp. 32-35.