SKU: GI.G-995

Composed by James Jordan. GIA ChoralWorks. Music Education. Choral score. GIA Publications #995. Published by GIA Publications (GI.G-995).

UPC: 785147099529.

†œI would tear a hole in the sky so I could pull out the heart of the moon for thee.” From “As I Walk the Silent Earth” by Thomas LaVoy Performed by the Westminster Williamson Voices, conducted by James Jordan. Works by: Ola Gjeilo, Eric Whitacre, Thomas LaVoy, Stephen Paulus, Aaron Copeland, Blake Henson, Benjamin Britten, Tomás Luis de Victoria, Dan Forrest, Felix Mendelssohn-Bartholdy, Arvo Pärt, Alice Parker, Anton Bruckner, and Maurice Duruflé. Produced by James Whitbourn   A stunning new recording from James Jordan and the Westminster Williamson voices. Music opens us to a more radiant and brilliant life through sounds and words. There is music that, by its very nature, “tears a hole in the sky”—the “sky” of our spirits and souls. Certain music, certain composers, and certain performances have a way of “tearing a hole” into us perhaps even bringing new meaning to what we do and how we live. The music of Hole in the Sky has a common thread in that all the pieces, in some way, provide an illuminative hole, through both sound and text, into a deeper understanding of life and living. It explores the many worlds of choral sound. From Ola Gjeilo’s “The Spheres,” to Mendelssohn’s stunning work for women’s choir, “Veni, Domine,” to “She Weeps Over Rahoon” by Eric Whitacre, to the joyful “Jubilate Deo” of Benjamin Britten, this music will touch the depths of your soul. Be bold, take a breath, and dare to fall through. Westminster Williamson Voices under James Jordan is one of the great choirs of the world. Theirs is a sound which can set the soul at rest. James Whitborn.

Orchestra - Grade 3

SKU: AP.29720

Composed by Bob Phillips. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Dance. Folk. Score and Part(s). 124 pages. Duration 3:45. Highland/Etling #00-29720. Published by Highland/Etling (AP.29720).

UPC: 038081329802. English.

A programmatic piece based on the changing character of that vast inland sea, Lake Michigan, this original composition will remind the listener of the folk-based tunes of Holst. Written for a school located near the beaches, the music reflects the serene mornings, days of large waves and the spectacularly brilliant sunsets. The majestic finish reflects the wonder of a sky full of fire as the sun sets. (3:45).

By Bob Phillips. Orchestra. For String Orchestra. String Orchestra. Highland String Orchestra. 3 (grade 3). Score. 16 pages

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115036-140

Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Score Only. Composed 2010. 14 pages. De Haske Publications #DHP 1115036-140. Published by De Haske Publications (BT.DHP-1115036-140).

9x12 inches. English-German-French-Dut ch.

This piece was commissioned by Oyama City Symphonic Wind Orchestra to commemorate their 30th Anniversary. The composer was inspired by Oyama City’s slogan, ‘water, green and earth’, to write this festive fanfare. Following a gentle opening a fanfare leads to a magnifi cent chorale. This turns into a quickly moving energetic section with irregular rhythm. This is a short but dramatic piece that will make a brilliant concert opener.

Beim Komponieren dieses Werkes ließ sich Satoshi Yagisawa von den Schlagwörtern Wasser“, grün“ und Erde“ aus dem Motto der auftraggebenden Stadt Oyama inspirieren. Mit einer sanften Einleitung, nach der die Fanfare zu einem prachtvollen Choral anschwillt, um dann ein kraftvolles, schnelles Thema hervorzubringen, bietet Fanfare - The Benefaction from Sky and Mother Earth alles, was es zu einer wirkungsvollen Konzerteröffnung braucht.

l’introduction, expressive et douce, succède une fanfare qui chemine vers l’exposition d’un magnifi que thème choral. La ligne mélodique qui suit est puissante et vive. Une oeuvre effi cace pour ouvrir un concert en finesse et en puissance.

Questo brano è stato commissionato dalla Oyama City Symphonic Wind Orchestra in Giappone, per celebrare il 30° anniversario di fondazione. Nello scrivere il brano, il compositore si è ispirato allo slogan di Oyama: acqua, verde e terra. L’introduzione è discreta ed è seguita da una fanfara che accompagna il brano ad un splendido corale. Il brano diventa poi più energico e veloce. Un brano breve, ma di grande impatto, tipico dello stile di Yagisawa.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115036-010

Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Set (Score & Parts). Composed 2010. De Haske Publications #DHP 1115036-010. Published by De Haske Publications (BT.DHP-1115036-010).

9x12 inches. English-German-French-Dut ch.

This piece was commissioned by Oyama City Symphonic Wind Orchestra to commemorate their 30th Anniversary. The composer was inspired by Oyama City’s slogan, ‘water, green and earth’, to write this festive fanfare. Following a gentle opening a fanfareleads to a magnificent chorale. This turns into a quickly moving energetic section with irregular rhythm. This is a short but dramatic piece that will make a brilliant concert opener.

Een indrukwekkend en kleurrijk openingswerk waarvoor de componist zich heeft laten inspireren door de Japanse stad Oyama.

Beim Komponieren dieses Werkes ließ sich Satoshi Yagisawa von den Schlagwörtern Wasser“, grün“ und Erde“ aus dem Motto der auftraggebenden Stadt Oyama inspirieren. Mit einer sanften Einleitung, nach der die Fanfare zu einem prachtvollen Choral anschwillt, um dann ein kraftvolles, schnelles Thema hervorzubringen, bietet Fanfare - The Benefaction from Sky and Mother Earth alles, was es zu einer wirkungsvollen Konzerteröffnung braucht.

l’introduction, expressive et douce, succède une fanfare qui chemine vers l’exposition d’un magnifi que thème choral. La ligne mélodique qui suit est puissante et vive. Une oeuvre effi cace pour ouvrir un concert en finesse et en puissance.

Questo brano è stato commissionato dalla Oyama City Symphonic Wind Orchestra in Giappone, per celebrare il 30° anniversario di fondazione. Nello scrivere il brano, il compositore si è ispirato allo slogan di Oyama: acqua, verde e terra. L’introduzione è discreta ed è seguita da una fanfara che accompagna il brano ad un splendido corale. Il brano diventa poi più energico e veloce. Un brano breve, ma di grande impatto, tipico dello stile di Yagisawa.

Piano

SKU: GI.G-EH1018

Composed by Elaine Hagenberg. This edition: SSAA edition. Elaine Hagenberg. Classical. 16 pages. GIA Publications #EH1018. Published by GIA Publications (GI.G-EH1018).

Measure Me, Sky! (SSAA) encourages your treble singers to take hold of their limitless potential. Ascending vocal lines stretch across a driving accompaniment, as if reaching out to grasp the expanse depicted in Leonora Speyer's rapturous poem. This impassioned piece builds through key changes and several returns of the opening material before arriving at its brilliant final chord, reflecting Loveliness, wings for my flight! A thrilling concert opener or closer!

Intermediate

SKU: WD.080689525179

Composed by Heidi Petak. Arranged by Joel Lindsey. Choral, cantatas. Christmas. Book. Word Music #080689525179. Published by Word Music (WD.080689525179).

UPC: 080689525179.

Un der a Starry Sky – A powerful, new dramatic musical designed for a small cast of players, soloists, choir and orchestra! From the skillfully crafted, powerfully written script by Heidi Petak; to the distinctly different, theatrically-styled new songs brilliantly written by award-winning composers Joel Lindsey and Jeff Bumgardner; to the unique, sophisticated, emotionally-charged arrangements and orchestrations by Daniel Semsen, this new Christmas musical represents an important achievement in modern church music. Created for churches with a passion for bringing the worlds of music ministry and musical theater together in an innovative setting, Under a Starry Sky is a breath of dramatically fresh air!

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3

SKU: CF.CAS117

Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+8 pages. Duration 3 minutes, 59 seconds. Carl Fischer Music #CAS117. Published by Carl Fischer Music (CF.CAS117).

ISBN 9781491153291. UPC: 680160910793. 9 x 12 inches. Key: A major.

Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service.
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3

SKU: CF.CAS117F

Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #CAS117F. Published by Carl Fischer Music (CF.CAS117F).

ISBN 9781491153307. UPC: 680160910809. 9 x 12 inches.

Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service.
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3

SKU: KN.09998S

Composed by Deborah Baker Monday. Solo or Ensemble. Apex String Orchestra. Kendor Music Inc #09998S. Published by Kendor Music Inc (KN.09998S).

UPC: 822795099980.

Inspi red by the beautiful landscapes the composer has seen on long road trips across the U.S., this powerful original features the pandiatonic harmonies and open-sounding intervals (fourths and fifths) that are reminiscent of the music of Aaron Copland, making it sound very American from start to finish. It portrays that moment when darkness gives way to light on the distant horizon, starting with a glimmer and eventually bursting into a brilliant sky to mark the start of a new day. Duration 3:40 . Available in SmartMusic.

String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3

SKU: KN.9998

Composed by Deborah Baker Monday. Solo or Ensemble. Apex String Orchestra. Kendor Music Inc #9998. Published by Kendor Music Inc (KN.9998).

UPC: 822795099980.

Inspi red by the beautiful landscapes the composer has seen on long road trips across the U.S., this powerful original features the pandiatonic harmonies and open-sounding intervals (fourths and fifths) that are reminiscent of the music of Aaron Copland, making it sound very American from start to finish. It portrays that moment when darkness gives way to light on the distant horizon, starting with a glimmer and eventually bursting into a brilliant sky to mark the start of a new day. Duration 3:40 . Available in SmartMusic.

By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Victor LÌ_pez. Concert Band. Concert Band; Masterworks; Part(s); Score. Belwin Concert Band. Form: Transcription. Masterwork Arrangement; Romantic. Grade 3. 244 pages. Published by Belwin Publishing

By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Mark Williams. Concert Band. Concert Band; Masterworks. Growing Band Series. Masterwork; Multicultural; Romantic. Grade 3. Conductor Score and Parts. 276 pages

Composed by Lauren Bernofsky (1967-). Edited by Tomoko Kanamura. Solo part with piano reduction. With Standard notation. 29 19 pages. Carl Fischer #BQ-113. Published by Carl Fischer

Grade 2

SKU: CL.011-4648-00

Composed by Mohanty. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR395). Score and set of parts. Composed 2018. Duration 2 minutes, 33 seconds. C.L. Barnhouse #011-4648-00. Published by C.L. Barnhouse (CL.011-4648-00).

Skywalk is a brilliant fanfare/opener certain to capture the excitement of young musicians. This debut work by composer Vaibhav Mohanty features colorful, creative writing throughout, and is full of vibrant, fresh harmonies and ostinatos that will get feet tapping. Skywalk delivers an exhilarating experience to performers and listeners alike! Truly electrifying!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Grade 2

SKU: CL.011-4648-01

Composed by Mohanty. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR395). Extra full score. Composed 2018. Duration 2 minutes, 33 seconds. C.L. Barnhouse #011-4648-01. Published by C.L. Barnhouse (CL.011-4648-01).

Skywalk is a brilliant fanfare/opener certain to capture the excitement of young musicians. This debut work by composer Vaibhav Mohanty features colorful, creative writing throughout, and is full of vibrant, fresh harmonies and ostinatos that will get feet tapping. Skywalk delivers an exhilarating experience to performers and listeners alike! Truly electrifying!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Mixed Choir [SATB] and Organ - Grade 4

SKU: HL.14043092

Composed by Poul Ruders. Choral. Classical. Octavo. Composed 2013. Edition Wilhelm Hansen #WH32019. Published by Edition Wilhelm Hansen (HL.14043092).

ISBN 9788759830185.

Men Der Skyder En Kvist was expertly composed in 2013, by Poul Ruders , for SATB choir and Organ. Poul Ruders is a Danish composer, well known for his brilliant creative pieces. His musical contributions have lead him to winning a Grammy Award for Best Classical Contemporary Composition.

(Russian Song). By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Victor López. Orchestra. Full Orchestra; Masterworks; Part(s); Score. Belwin Concert Full Orchestra. Form: Transcription. Masterwork Arrangement; Romantic. Grade 4. 232 pages. Published by Belwin Music

Edited by Maurice Hinson. Torjussen, Trygve. For Piano. Piano Solo. Masterwork. Level: Late Intermediate (grade 6). Sheet. 4 pages. Published by Alfred Publishing.

This edition: Musical. Modern Christian: Christmas. Level: Adult. Published by Word Music.

(Concert Mare Nostrum per a guitarra i orquestra). By Salvador Brotons. For guitar, piano. Chamber Music. Duration 20 minutes. Published by Brotons and Mercadal

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.114419980

Composed by Stacy Garrop. Sws. Set of Score and Parts. 32+16+16+16+16+16 pages. Duration 16 minutes. Theodore Presser Company #114-41998. Published by Theodore Presser Company (PR.114419980).

UPC: 680160681723. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

By Joyce Grill. For Piano. Piano Duet (One Piano, Four Hands). Level: Intermediate. Sheet. 12 pages. Published by Alfred Publishing.

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.11441998S

Composed by Stacy Garrop. Sws. Full score. 32 pages. Duration 16 minutes. Theodore Presser Company #114-41998S. Published by Theodore Presser Company (PR.11441998S).

UPC: 680160681730. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

Chamber ensemble Erhu, Percussion, Pipa, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.11441359S

For Erhu, Pipa, Percussion and Saxophone Quartet. Composed by Chen Yi. From Dunhuang Fantasy. Premiere: NYC & Philadelphia. Contemporary. Full score (study). With Standard notation. Composed 2008. 36 pages. Duration 14 minutes. Theodore Presser Company #114-41359S. Published by Theodore Presser Company (PR.11441359S).

UPC: 680160582341. 8.5 x 11 inches.

Commissione d by Music From China ensemble and Prism Saxophone Quartet, with a grant provided by the New York State Council on the Arts in 2008. Premiered in New York City, February 2009.
Commissioned by Music From China ensemble and PRISM Saxophone Quartet, with a commissioning grant provided by the New York State Council on the Arts in 2008.The imagination of this music came from the figures in the murals carved in the Mogao Caves in the ancient city Dunhuang more than a thousand years ago.  The name Dunhuang originally meant “prospering, flourishing.”  Lying at the western end of the Gansu Corridor in China, Dunhuang was very important in the Silk Road that carried new thoughts, ideas, arts and sciences to the East and West in the ancient time.  The Mogao Grottoes were built and developed over 11 dynasties over more than 1,000 years (from the 4th to 14th centuries), with murals, sculptures, wooden cave buildings and books.  It was really the heyday of the art of Dunhuang in the brilliant Tang Dynasty (618-907).  The murals depict rolling dance gestures, the flapping streamer lines, the flying melodies around the clouds, and the fiery rhythms in the sky!  They show the high spirit and the strong power of the people and their society.  All these impressions are translated into the textures of the two Chinese traditional instrumental parts with support from a set of percussion instruments, and the sound of a saxophone quartet.  It’s mysterious, vivid, colorful and energetic, it brings us to dream of the ancient glory and yearn for the future...—Chen Yi.