By Lowell Liebermann. Arranged by Laren Stover. Text: Laren Stover. For Soprano, Baritone, Piano 4-Hands. Premiered January 15, 1997 by the New York Festival of Song Christine Goerke, soprano; William Sharp, baritone, Steven Blier and Michael Barrett, pianos Weill Recital Hall, New York City. Classical. Performance score. Composed 1996. Opus 54. 46 pages. Duration 18:30. Published by Theodore Presser Company.

(Music by J. C. Bach, Beethoven, Brahms, Dvorák, and Mozart). Edited by Gayle Kowalchyk and E. L. Lancaster. For Piano. Book; Duet or Duo; Graded Standard Repertoire; Masterworks; Piano Duet (1 Piano, 4 Hands). Alfred Masterwork Edition: Essential Keyboard Repertoire. Masterwork; Recital. Advanced; Early Advanced. 170 pages. Published by Alfred Music Publishing

Composed by Sergei Rachmaninoff (1873-1943). Arranged by Ralph Sauer. Russian 20th century. Solo part and piano accompaniment. Published by Cherry Classics (CY.CC2617).

In F-Sharp Major for Violin and Viola Autograph Manuscript. Composed by Nicolo Paganini. Edited by Italo Vescovo. String Ensemble. Classical. Softcover. Ricordi #NR14246400. Published by Ricordi

Double Bass and Piano Reduction. Composed by Serge Koussevitzky (1874-1951). Edited by ckler and Tobias Glö. Henle Music Folios. Classical. Softcover. 88 pages. G. Henle #HN1451. Published by G. Henle

Double Bass and Piano - Grade 2.5

SKU: AP.36-52740602

Composed by Lynne Latham. Arranged by Thom Sharp. This edition: Latham Music. Double Bass with Piano. LudwigMasters - Latham Music. Book. Latham Music Enterprises #36-52740602. Published by Latham Music Enterprises (AP.36-52740602).

ISBN 9781429126281. UPC: 679360617915. English.

This volume continues the development of playing skills found in Book 1 and progresses to more complex rhythms, left-hand finger patterns and techniques, bowing techniques, and preparation for shifting. Book 2 introduces students to: long and controlled bow strokes, slurred legato and staccato bow strokes, string-crossing slurs, and producing dynamic contrasts; new rhythmic patterns including dotted notes, triplets, sixteenth notes, swinging eighth notes, and syncopated rhythms; new time signatures including 6/8 and 3/8, along with cut time for cello/bass; and major and minor left-hand string patterns, extended fingerings, and beginning octave harmonics and shifting. Online audio available.

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.

Double Bass and Piano - Grade 1.5

SKU: AP.36-52740598

Composed by Lynne Latham. Arranged by Thom Sharp. This edition: Latham Music. Double Bass with Piano. LudwigMasters - Latham Music. Book. Latham Music Enterprises #36-52740598. Published by Latham Music Enterprises (AP.36-52740598).

ISBN 9781429126137. UPC: 679360617403. English.

Volume 1 begins with open strings and basic notation, rhythms, and bowing skills. New notes, notation, and bowing skills are added in logical progression, reinforcing both right- and left-hand technique and developing the cognition for string performance. This book introduces students to: the basic major and minor tetrachords on all four strings; essential rhythmic notation from whole notes through eighth-note patterns; left-hand techniques such as easily played double stops, left-hand pizzicato, differentiating whole and half steps; and a variety of bow techniques. Audio available online.

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.

By Sergei Rachmaninoff (1873-1943). Collection and performance CD for piano four-hands. Series: Alfred's Classic Editions. 132 pages. Published by Alfred Publishing.

For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced flat-pick players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. That's the secret ingredient of this study program -- its a beginning fingerstyle. DVD. Published by eMedia Music

with a Critical Commentary in English. By Johann Sebastian Bach. Edited by Davitt Moroney. Piano (Harpsichord), 2-hands. Pages: XI and 124. Urtext edition without fingering-paper bound. Published by G. Henle.

Art of the Fugue BWV 1080 (Study Score). By Johann Sebastian Bach (1685-1750). Edited by Davitt Moroney. Study Score. STUDY EDITION. Henle Study Scores. Pages: XI and 124. Softcover. 136 pages. G. Henle #HN9423. Published by G. Henle

Organ

SKU: HL.14034957

Composed by Finn Videro. Music Sales America. Classical, Instruction, Technique. Book [Softcover]. 136 pages. Edition Wilhelm Hansen #WH24091. Published by Edition Wilhelm Hansen (HL.14034957).

ISBN 9788774552475. 12.25x8.25x0.7 inches. English.

Includes works by Bach, Buxtehude, Couperin, Pachelbel. Exercises and short pieces for the improvement of overall technique.

In All Major and Minor Keys. Composed by J. B. Albert. Edited by Julie DeRoche. Book. With Standard notation. 32 pages. Carl Fischer Music #O99X. Published by Carl Fischer Music

Clarinet and Piano (Clarinet)

SKU: HL.14023891

By Colin Bradbury. By Charles Oberthur. Music Sales America. Classical. Book [Softcover]. Composed 2002. Chester Music #CH55214. Published by Chester Music (HL.14023891).

This nocturne was one of a set of six composed for the second wedding of the Duke of Nassau, which were published simultaneously as sets of duos or solo pieces for Violin, Cello, clarinet or concertina with harp or Pianoaccompaniment. Charles Oberthur was a celebrated harpist during his long career in the 1800's, most of which he spent in Britain. Besides being a distinguished instrumentalist, Oberthur was a prolific composer, creating morethan two hundred works.

Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:30. Published by C. Alan Publications (CN.06191).

(A Technical Guitar Method and Introduction to Music). By Juan Serrano and Corey Whithead. For Guitar (Classical). Methods. Flamenco. Multiple Levels. Book. 176 pages. Published by Mel Bay Publications, Inc

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130).

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.