Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.446413400

High Wire Act for Orchestra. Composed by Michael Boyman. Study Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340. Published by Merion Music (PR.446413400).

UPC: 680160667406. 9 x 12 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

By Flight of the Conchords. Easy Guitar (Simplified arrangements for guitar). Softcover. 52 pages. Published by Cherry Lane Music

Basso (cello/double bass) (solo: pno- 1.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-15148-26

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Stapled. Orchester-Bibliothek (Orchestral Library).

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our ed ition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Part. 8 pages. Duration 28'. Breitkopf and Haertel #OB 15148-26. Published by Breitkopf and Haertel (BR.OB-15148-26).

ISBN 9790004342206. 10 x 12.5 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

Woodwinds (solo: pno- 1.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-15148-30

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Folder. Orchester-Bibliothek (Orchestral Library).

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our ed ition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Set of parts. 72 pages. Duration 28'. Breitkopf and Haertel #OB 15148-30. Published by Breitkopf and Haertel (BR.OB-15148-30).

ISBN 9790004342213. 10 x 12.5 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

Piano duets (solo: pno- 1.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.EB-10787

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Solo instruments; Softcover. Edition Breitkopf.

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our ed ition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Piano reduction. 68 pages. Duration 28'. Breitkopf and Haertel #EB 10787. Published by Breitkopf and Haertel (BR.EB-10787).

ISBN 9790201807874. 9.5 x 12 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

Violin 2 (solo: pno- 1.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-15148-16

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttrich. Stapled. Orchester-Bibliothek (Orchestral Library).

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our ed ition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Part. 8 pages. Duration 28'. Breitkopf and Haertel #OB 15148-16. Published by Breitkopf and Haertel (BR.OB-15148-16).

ISBN 9790004342183. 10 x 12.5 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

EB 10787 is printed in score form; two copies are needed for performance. Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 491.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piano, Piccolo, Timpani, Trombone 1, Trombone 2 and more.

SKU: PR.44641340L

High Wire Act for Orchestra. Composed by Michael Boyman. Large Score. With Standard notation. Duration 8 minutes. Merion Music #446-41340L. Published by Merion Music (PR.44641340L).

UPC: 680160667413. 11 x 17 inches.

Tightrope Walker is my first piece for full orchestra. Given the large forces available to me, I wanted to write something exciting, colorful and visceral. I remembered back to when I was a kid going to see the Cirque du Soleil. That trip made a big impression on me, especially the high wire performers. These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending. This idea of danger, of risking one's life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience. The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds. These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker. The tempo slows and the atmosphere becomes tense. The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns. The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored. We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms. The anticipation builds until we hear a solo drum roll - the main act is about to begin. The second half of the piece depicts the Tightrope Walker performing for his audience. But from the outset, as in the beginning of the piece, we hear there are problems. The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.
Tightrope Walker is my first piece for full orchestra.  Given the large forces available to me, I wanted to write something exciting, colorful and visceral.  I remembered back to when I was a kid going to see the Cirque du Soleil.  That trip made a big impression on me, especially the high wire performers.  These were artists performing super-human feats high in the air, where even the slightest mistake guaranteed a fatal ending.  This idea of danger, of risking one’s life to entertain an audience has stayed with me, and Tightrope Walker is my attempt at recreating that special childhood experience.The opening of the piece hints at what's to come - a steady, walking pulse interrupted by missteps in the woodwinds.  These missteps increase until the entire orchestra comes crashing down - not a good sign for our Tightrope Walker.  The tempo slows and the atmosphere becomes tense.  The primary themes of the piece are presented in fragments, most notably the Tightrope Walker's theme in the horns.  The orchestra gradually recovers from the previous fall, becoming more lively and coherent until the original, faster tempo is restored.We are now at the circus, excited and expectant, and the fragmentary themes heard previously are now presented in their full forms.  The anticipation builds until we hear a solo drum roll - the main act is about to begin.  The second half of the piece depicts the Tightrope Walker performing for his audience.  But from the outset, as in the beginning of the piece, we hear there are problems.  The pressure mounts, the audience clamoring for more, until Tightrope Walker comes to a decisive and potentially fatal end.

By Martin Wulfhorst. This edition: 1st printing 2012 edition. Paperback. A comprehensive guidebook with hundreds of excerpts. Book. Language: English. 483 pages. Published by Baerenreiter Verlag

Composed by Johann Johannsson. Arranged by Robert Longfield. Young Concert Band. Published by Hal Leonard (HL.4004318).

Flute and piano

SKU: P2.10004

Composed by Ryan Woodhouse. Chamber music, 20th century. Published by Potenza Music (P2.10004).

Music possesses the amazing ability of transporting its listener to a beautiful world of sound where the pressures of everyday life can be momentarily forgotten. The escape that music can provide is the inspiration of this piece. Escape was composed for performance at the 2011 Cortona Sessions for New Music in Cortona, Italy.

Alto Saxophone

SKU: HL.48180543

For Alto Saxophone and Piano. Composed by Henri Tomasi. Leduc. Classical. Softcover. 3 pages. Alphonse Leduc #AL18122. Published by Alphonse Leduc (HL.48180543).

UPC: 888680796044. 9x12 inches.

French composer and conductor, Henri Tomasi (1901-1971) published his Corsican Song for alto saxophone and piano in 1932. As with his other wind compositions, Corsican Song was well-received by audiences. Tomasi was born in Marseille, but his father and mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his grandmother in Corsica where he learnt traditional Corsican songs. However, in 1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his grandmother in to his compositions, as is the case with Corsican Song. This Tomasi work is unusual in composition through its exploitation of tonality, rhythm and structure amongst other aspects. However, this Tomasi piece, suitable for advanced saxophonists, provides an exciting, alternative addition to the repertoire.

(Music from the Motion Picture Soundtrack). Composed by Johann Johannsson. Arranged by Anthony Weeden. For Piano/Keyboard. Piano Solo Songbook. Softcover. 48 pages. Published by Hal Leonard

A Hymn for Communion. Composed by Robert Sterling. Arranged by Robert Sterling. Glory Sound. Communion, Sacred. Octavo. 8 pages. Published by Glory Sound

A Guide to Aspiring Singers. By Mary King, Anthony Legge. For singers. Instructional Handbook. Published by Faber Music Ltd.

SKU: HL.48182001

Composed by Henri Tomasi. Leduc. Classical. Softcover. 15 pages. Alphonse Leduc #AL22798. Published by Alphonse Leduc (HL.48182001).

UPC: 888680847227. 9x12 inches.

“Fren ch composer and conductor, Henri Tomasi (1901-1971) published Mireille's Tomb in 1959. As with his other compositions, Mireille's Tomb for Galoubet (Pipe), Piccolo or Oboe, with Tambourine, Toneless Snare Drum or Piano was well-received by audiences. Tomasi was born in Marseille, but his Father and Mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his Grandmother in Corsica where he learnt traditional Corsican songs. However, in 1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his Grandmother in to his compositions. Mireille's Tomb is a highly unusual and modern work, not only in instrumentation, but in its use of varying time signatures, complex rhythms and a range of performance directions. The composition exploits tonality, rhythm and structure amongst other aspects. However, this Tomasi piece, suitable for advanced instrumentalists, provides an exciting, alternative addition to the ensemble repertoire.&rdquo.

SKU: HL.48182297

Composed by Henri Tomasi. Leduc. Classical. 9 pages. Alphonse Leduc #AL23411. Published by Alphonse Leduc (HL.48182297).

UPC: 888680839994. 9.0x12.0x0.183 inches.

â??French composer and conductor, Henri Tomasi (1901-1971) published Three Divertissements for Clarinet Quartet in 1964. As with his other wind compositions, Three Divertissements was well-received by audiences. Tomasi was born in Marseille, but his Father and Mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his Grandmother in Corsica where he learnt traditional Corsican songs. However, in 1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his Grandmother into his compositions. The Three Divertissements are named; 1) Proceedings, 2) Masquerade, and 3) Rounds. This Tomasi piece is suitable to an advanced Clarinet Quartet, providing an exciting alternative addition to the ensemble repertoire.â?.