Organ - Intermediate

SKU: MN.10-462

Composed by Various. Wedding. MorningStar Music Publishers #10-462. Published by MorningStar Music Publishers (MN.10-462).

UPC: 688670104626.

We swept our past catalogs for charming, stand-alone pieces for use as prelude music, processionals, and recessionals. Some you might know and some will be brand new to you, as the title suggests. A useful volume to keep by the console when consulting with brides or playing weddings!

Contents :
Preludes
Allegro from La Primavera Spring - Vivaldi / Wolff
Jesu, Joy of Our Desiring - Bach / Burkhardt
Prelude on When Love is Found - John Ferguson
Adagio on Ode to Joy - Charles Callahan
Aria on O Perfect Love - Michael Burkhardt
The King of Love - Wilbur Held
Prelude on Blest Be the Tie - Charles Callahan
Rhosymedre (Lovely) - Ralph Vaughan Williams

P rocessionals
Prince of Denmark's March (Trumpet Voluntary in D) - Clarke / Christiansen
Rigaudon - Bohm / Biery
Trumpet Tunes from King Arthur - Purcell / Potts
Trumpet Tune on Westminster Abbey - Jerry Westenkuehler
Trumpet Tune in C - Mark Shepperd

R ecessionals
P salm XIX - Marcello / Hyslop
Postlude on Lobe den Herren - Raymond Haan
Allegro Maestoso (Water Music) - Handel / Burkhardt
A Rejoicing - Alfred V. Fedak
Now Thank We All Our God - Paul Manz
Toccata on A Theme of Beethoven - Charles Callahan.

For School and Studio (Second Year) - Medium Low. By Adolf Jensen; Anonymous; Charles Fonteyn Manney; Christian Sinding; Edvard Grieg; Franz Schubert; George Henschel; Johannes Brahms; John H. Densmore; Lily S. Strickland; Peter Ilyich Tchaikovsky; Robert Franz; Robert Schumann; William Arms Fisher. Edited by Alfred Spouse, Mabelle Glenn. Arranged by Heinrich Kiehl. Text: Arthur Westbrook; Friedrich Ruckert; H. Holty; H. Ibsen; H. Lilljebjorn; Hans Schmidt; Heinrich Heine; Helen Oushman Mitchell; Hermann Almers; J.W. Von Goethe; Lily S. Strickland; Ludwig Uhland; Mary Macmillan; Nicholaus Lenau; Sara Teasdale. For Medium Low Voice, Medium-Low Voice. Piano/Vocal Score. 64 pages. Published by Theodore Presser Company.

Grade 3

SKU: CL.012-2401-00

Composed by Tatgenhorst. Concert Band. Classics Series. Audio recording available separately (item CL.WFR328). Sacred, Christmas. Score and set of parts. Composed 1991. Duration 2 minutes, 29 seconds. Opus III Wind Orchestra Publications #012-2401-00. Published by Opus III Wind Orchestra Publications (CL.012-2401-00).

An exciting transcription of John’s arrangement as recorded on his CBS album, Turned On Christmas recorded with the London Royal Philharmonic Orchestra. Incredibly Electric!

About C.L. Barnhouse Classics Series

Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

For Piano. By Alfred A. Ackley; Anonymous; Cleavant Derricks; Elisha A. Hoffman; Frederick C. Atkinson; Geistliche Kirchengesange; H. Percy Smith; John T. Grape; Lowell Mason; Luther B. Bridgers; William B. Bradbury. Arranged by Walter Knapp. Solo piano. For Piano Solo. Solo part. 40 pages. Published by Carl Fischer.

By Various. Arranged by Richard D. Row. For Voice and Piano. Published by Carl Fischer.

Composed by Mark Cabaniss. Arranged by John Purifoy. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Alfred Sacred. Sacred. Choral Octavo. Jubilate Music Group #00-46860. Published by Jubilate Music Group (AP.46860).

(Choral Variations on PICARDY). By Alfred Fedak. Arranged by John Ferguson. Sacred. Instrumental parts. 38 pages. Published by GIA Publications

String Quartet

SKU: HL.14030965

Music Sales America. Classical. Set of Parts. Music Sales #KP00509. Published by Music Sales (HL.14030965).

ISBN 9788759861448. English.

Version for String Quartet. Score available: KP00510 The composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's paint-ing: 'The Lady of Shalott'. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources. As suggested above the piece was originally written for viola solo. The version for string quartet is from 1993.'.

String Quartet

SKU: HL.14030964

Composed by Bent Sorensen. Music Sales America. Classical. Score. 10 pages. Music Sales #KP00510. Published by Music Sales (HL.14030964).

ISBN 9788759861455. English.

The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo Viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's painting: The Lady Of Shalott. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.

By Piccolomini. Arranged by John Longhurst. Text: Alfred H. Hyatt. For Vocal Solo or Duet. Level: Medium. Published by Jackman Music Corporation.

Book 1 - with Piano Accompaniment CD. By Ralph Vaughan Williams. Edited by Richard D. Row. Arranged by Richard D. Row. Text: Richard D. Row. For Baritone, Bass. Piano/Vocal Score. 79 pages. Published by Carl Fischer.

Soprano voice & Piano

SKU: SU.50001591

For Soprano & Piano. Composed by John Bavicchi. Vocal/Choral, Solo Voice. Score. Seesaw Music Corp #50001591. Published by Seesaw Music Corp (SU.50001591).

Setting of poems by Alfred Noves Published by: Seesaw Music.

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902A

From Terra Nostra. Composed by Stacy Garrop. Set of Score and Parts. Duration 3:15. Theodore Presser Company #312-41902A. Published by Theodore Presser Company (PR.31241902A).

UPC: 680160690510. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

By Leonard Bernstein (1918-1990). BH Piano. Softcover. 120 pages. Boosey and Hawkes #M051246410. Published by Boosey and Hawkes

(Selection For Concert Band). By Marcel Peeters. For Concert Band. Arrangements of Modern Light Music / The 20ties / Film / Selections of Opera/Musical/Movies/TV. Movie and Musical. Grade 4. Score and Parts. Duration 11 minutes, 26 seconds. Published by Molenaar Edition