Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

Composed by Jan Hadermann (1952-). De Haske Saxophone Series. Book with Part. Composed 2020. 8 pages. De Haske Publications #DHP 1206261-401. Published by De Haske Publications

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Spoons, Timpani, Trombone, Trumpet, Tuba, Washboard, Whistle, alto Saxophone and more. - Grade 2

SKU: CF.YPS231

Composed by Travis Weller. Folio. Yps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+4+3+3+2 +3+2+1+2+3+16 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS231. Published by Carl Fischer Music (CF.YPS231).

ISBN 9781491157831. UPC: 680160916436. 9 x 12 inches.

The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk songa900 Milesaand they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song--900 Miles--and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song—900 Miles—and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience.While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region.The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Spoons, Timpani, Trombone, Trumpet, Tuba, Washboard, Whistle, alto Saxophone and more. - Grade 2

SKU: CF.YPS231F

Composed by Travis Weller. Sws. Yps. Full score. 16 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS231F. Published by Carl Fischer Music (CF.YPS231F).

ISBN 9781491157824. UPC: 680160916429. 9 x 12 inches.

The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk songa900 Milesaand they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song--900 Miles--and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song—900 Miles—and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience.While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region.The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS239

Composed by Aaron McMichael. Set of Score and Parts. 22+16+4+8+4+4+4+5+2+4+4+4 +4+6+3+3+1+1+2+4+4+2 pages. Duration 2:40. Carl Fischer Music #YPS239. Published by Carl Fischer Music (CF.YPS239).

ISBN 9781491159613. UPC: 680160918201.

This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion” feature.  I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many.  Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group.  I hope you enjoy my new piece The Brave Warrior.

Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 3

SKU: CF.CPS253F

Composed by Carl Strommen. Full score. 22 pages. Carl Fischer Music #CPS253F. Published by Carl Fischer Music (CF.CPS253F).

ISBN 9781491159804. UPC: 680160918393.

Daugh ters of Erin was commissioned by and dedicated to the University of Notre Dame Concert Band, Dr. Ken Dye, director. It was composed in 2020 to celebrate the 50th anniversary of the first women to be admitted into the Notre Dame Concert Band. The university was an all-male school from its founding in 1842. The Notre Dame Band was formed during the 1845-46 academic year. The university became co-educational with the admission of women in 1972. Two years earlier, in 1970, the band director Robert F. O'Brien, secured permission for women from nearby St. Mary's College (the official sister school of Notre Dame) to be part of the Notre Dame Band. Appropriate to the theme of Daughters of Erin, selections include The Bells of St. Mary's, I'll Take You Home Again, Kathleen, and two Irish Jigs: Girls of Our Town and The Women of Kilkenny. Daughters of Erin celebrates all the women who have performed in the University of Notre Dame Band for the past fifty years, and all who will follow in their footsteps in the years to come. Cues have been provided and should only be used where necessary.
Daughters of Erin was commissioned by and dedicated to the University of Notre Dame Concert Band, Dr. Ken Dye, director. It was composed in 2020 to celebrate the 50th anniversary of the first women to be admitted into the Notre Dame Concert Band. The university was an all-male school from its founding in 1842. The Notre Dame Band was formed during the 1845–46 academic year. The university became co-educational with the admission of women in 1972. Two years earlier, in 1970, the band director Robert F. O’Brien, secured permission for women from nearby St. Mary’s College (the official “sister” school of Notre Dame) to be part of the Notre Dame Band.Appropriate to the theme of Daughters of Erin, selections include The Bells of St. Mary’s, I’ll Take You Home Again, Kathleen, and two Irish “Jigs”: Girls of Our Town and The Women of Kilkenny.Daughters of Erin celebrates all the women who have performed in the University of Notre Dame Band for the past fifty years, and all who will follow in their footsteps in the years to come.Cues have been provided and should only be used where necessary.

Band Bass Clarinet, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 3

SKU: CF.CPS253

Composed by Carl Strommen. Set of Score and Parts. 22+8+8+4+8+8+8+4+4+4+4+4+ 4+8+8+8+4+4+6+6+6+6+4+8+1 +1+2+3 pages. Duration 5:12. Carl Fischer Music #CPS253. Published by Carl Fischer Music (CF.CPS253).

ISBN 9781491159798. UPC: 680160918386.

Daugh ters of Erin was commissioned by and dedicated to the University of Notre Dame Concert Band, Dr. Ken Dye, director. It was composed in 2020 to celebrate the 50th anniversary of the first women to be admitted into the Notre Dame Concert Band. The university was an all-male school from its founding in 1842. The Notre Dame Band was formed during the 1845-46 academic year. The university became co-educational with the admission of women in 1972. Two years earlier, in 1970, the band director Robert F. O'Brien, secured permission for women from nearby St. Mary's College (the official sister school of Notre Dame) to be part of the Notre Dame Band. Appropriate to the theme of Daughters of Erin, selections include The Bells of St. Mary's, I'll Take You Home Again, Kathleen, and two Irish Jigs: Girls of Our Town and The Women of Kilkenny. Daughters of Erin celebrates all the women who have performed in the University of Notre Dame Band for the past fifty years, and all who will follow in their footsteps in the years to come. Cues have been provided and should only be used where necessary.
Daughters of Erin was commissioned by and dedicated to the University of Notre Dame Concert Band, Dr. Ken Dye, director. It was composed in 2020 to celebrate the 50th anniversary of the first women to be admitted into the Notre Dame Concert Band. The university was an all-male school from its founding in 1842. The Notre Dame Band was formed during the 1845–46 academic year. The university became co-educational with the admission of women in 1972. Two years earlier, in 1970, the band director Robert F. O’Brien, secured permission for women from nearby St. Mary’s College (the official “sister” school of Notre Dame) to be part of the Notre Dame Band.Appropriate to the theme of Daughters of Erin, selections include The Bells of St. Mary’s, I’ll Take You Home Again, Kathleen, and two Irish “Jigs”: Girls of Our Town and The Women of Kilkenny.Daughters of Erin celebrates all the women who have performed in the University of Notre Dame Band for the past fifty years, and all who will follow in their footsteps in the years to come.Cues have been provided and should only be used where necessary.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS239F

Composed by Aaron McMichael. Full score. 22 pages. Carl Fischer Music #YPS239F. Published by Carl Fischer Music (CF.YPS239F).

ISBN 9781491159620. UPC: 680160918218.

This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion” feature.  I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many.  Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group.  I hope you enjoy my new piece The Brave Warrior.

Chamber Music Piccolo

SKU: PR.114422230

Composed by Amanda Harberg. Sws. Score. 4 pages. Duration 4:30. Theodore Presser Company #114-42223. Published by Theodore Presser Company (PR.114422230).

ISBN 9781491133910. UPC: 680160683383. 9 x 12 inches.

HALL OF GHOSTS was composed in 2020 during the Covid-19 lockdown period; it was inspired by piccoloist Gudrun Hinze’s video for Harberg’s Prayer Project filmed in the hauntingly empty Gewandhaus Chamber Music Hall. Evocative of imagined spirits in the empty hall, the music pitsdramatic silences, amid searching and plaintive phrases of the piccolo, against a lively middle section – a dialogue between the ticking of time and an instrument striving to make itself heard.
HALL OF GHOSTS was composed in April 2020 as a “thank you” giftdedicated to the wonderful community of flutists who participated inmy Prayer Project – a virtual flute orchestra project that I producedduring the Covid-19 lockdown period.HALL OF GHOSTS was inspired by piccoloist Gudrun Hinze, whorecorded her part for the Prayer Project in the empty GewandhausChamber Music Hall. This hall would normally be full of musiciansrehearsing and performing, but now, due to Covid-19, the hall layempty and filled only with echoes and memories. The image of Gudrun’ssolitary piccolo inspired in me a musical invocation, imploring thespirits to let the music return.In the first section, the silence of rests and pauses creates an expressivebackground for the searching and plaintive phrases of the solo piccolo.The lively middle section is a contrapuntal dialogue between theticking of time and an instrument striving to make itself heard. Thesematerials trade off throughout the piece. You can decide through yourinterpretation on who wins. The music? Or the ghosts?— Amanda Harberg.

SKU: HL.50603924

Score and Parts. Composed by Peter Dickinson. String. Softcover. 64 pages. Duration 600 seconds. Novello & Co Ltd. #NOV100474. Published by Novello & Co Ltd. (HL.50603924).

ISBN 9781705157718. UPC: 196288032458. 9.0x12.0 inches.

The composer writes: These three pieces are based on movements from my Mass of the Apocalypse, commissioned for the 300th anniversary of St James' Church, Piccadilly and recorded by the St James' Singers/Ivor Bolton. They are dedicated to Peter Sheppard Sk''rved and the Kreutzer Quartet in gratitude for their outstanding CD of my chamber music released early in 2020. They gave the first performance of the Three Pieces, which was filmed and streamed in November 2020, but the live premiere was given by the Gildas Quartet in the William Alwyn Festival at Southwold Church on 8 October 2021..

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SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

Piano

SKU: FG.55011-676-4

Composed by Juhani Nuorvala. Classical. Book. Fennica Gehrman #55011-676-4. Published by Fennica Gehrman (FG.55011-676-4).

Juhani Nuorvala (b. 1961) wrote The Five Chords That Shook My World (2020) for pianist Nicolas Horvath's Hommage a Glass project and it is dedicated to him. It's a fantasy meditation on the Train/Spaceship chords in Einstein, that repeating five-chord progression (Fm - Db - A - B7 - E) about which the composer has said that there's something strange, because it never fails to lift the audience to its feet. The duration of the piece is c. 6'30'', and it was premiered by Emil Holmstrom at RUSK festival (Pietarsaari, Finland) 20th November 2020. A notable variety of influences - microtonality, American minimalism, New Romanticism, popular music, techno - has been regarded as a special feature of Nuorvala's idiom. Despite this he is not a collage artist; instead he has blended various ingredients to create a mode of expression entirely his own. Nuorvala's works are often marked with frenzied rhythmic drive. He makes music using elements and materials that both the mind and the body respond to. He finds these elements not only in old or new classical music but in various forms of urban popular music, such as the electronic music of modern dance clubs.

Saw and String Quartet

SKU: BT.WH33313A

Composed by Britta Bystrom. Classical. Set of Parts. Composed 2020. 24 pages. Edition Wilhelm Hansen #WH33313A. Published by Edition Wilhelm Hansen (BT.WH33313A).

ISBN 9788759894576.

A work scored for saw and string quartet dedicated to the Esbjerg Ensemble and premiered in February 2020. Score available: WH33313.

Bassoon

SKU: SU.94010764

For Bassoon. Composed by James Lee III. Woodwinds, Bassoon. Score. Subito Music Corporation #94010764. Published by Subito Music Corporation (SU.94010764).

Dedicated to Bryan Young, Principal Bassoon, Baltimore Chamber OrchestraBassoon Duration: 5'3 Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

Flute

SKU: SU.94010761

For Flute. Composed by James Lee III. Woodwinds, Flute/Piccolo. Score. Subito Music Corporation #94010761. Published by Subito Music Corporation (SU.94010761).

Dedicated to Demarre McGill, Principal Flute, Seattle Symphony OrchestraFlute Duration: 6' Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

Oboe

SKU: SU.94010762

For Oboe. Composed by James Lee III. Woodwinds, Oboe/Piccolo. Score. Subito Music Corporation #94010762. Published by Subito Music Corporation (SU.94010762).

Dedicated to Titus Underwood, Principal Oboe, Nashville Symphony OrchestraOboe Duration: 5' Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

Organ

SKU: SU.80101484

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101484. Published by Zimbel Press (SU.80101484).

Awake, Thou World-Filling Light! (2020), a toccata for organ, is dedicated to Jan Lehtola. The image of the world-filling light comes from the Bengali writer Rabindranath Tagore. Instrumentation: Organ Duration: 5' Composed: 2020 Published by: Zimbel Press.

Clarinet

SKU: SU.94010763

For Clarinet. Composed by James Lee III. Woodwinds, Clarinet. Score. Subito Music Corporation #94010763. Published by Subito Music Corporation (SU.94010763).

Dedicated to Anthony McGill, Principal Clarinet, New York PhilharmonicClarinet Duration: 5'30 Composed: 2020 Published by: Subito Music Publishing PROGRAM NOTE: The year 2020 has definitely been a very challenging year with many upheavals. During this time of the COVID-19 health crisis, wearing masks, and high racial tensions, I decided to compose four short solo woodwind works for flute, oboe, clarinet, and bassoon, which represent the core woodwind section in an orchestra. I was inspired to compose these short pieces after I first heard Igor Stravinsky's three short pieces for clarinet, which totals a little more than four minutes in duration. I thought that it would be nice to highlight and honor my African-American male colleagues in the orchestral music world. I wanted to celebrate the fact that they are the principal player in the section of their respective orchestras. The short pieces are as follows: Principal Brother No. 1 for flute solo for Demarre McGill, Principal Flute of the Seattle Symphony Orchestra, Principal Brother No. 2 for oboe solo for Titus Underwood, Principal Oboe of the Nashville Symphony Orchestra, Principal Brother No. 3 for clarinet solo for Anthony McGill, Principal Clarinet of the New York Philharmonic, and Principal Brother No. 4 for bassoon solo for Bryan Young, Principal Bassoon of the Baltimore Chamber Orchestra. These works all begin with notes that are representative of their name; D for Demarre, B for Titus (ti in solfège starting on C), A for Anthony, and Bb for Bryan. There is also a rhythmic figure in the opening measures of each piece, which represent the utterance of their names. All four of these works are rhapsodic in nature with elements of improvisation. - James Lee III.

Orchestra

SKU: PR.11642055S

Composed by Elena Ruehr. Study Score. 87 pages. Merion Music #116-42055S. Published by Merion Music (PR.11642055S).

UPC: 680160690763.

Writt en in 2020 and dedicated to the memory my mother, RuthAnn Richwine Ruehr, this Requiem is also written in memory of all who passed in 2020. The text is an English translation of a standard Latin Mass, but it is secular: all religious words were either removed or replaced. It became a kind of outline of the five stages of grief: bargaining, sorrow, denial, anger and acceptance.

Organ

SKU: SU.80101485

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101485. Published by Zimbel Press (SU.80101485).

As strong as these stones, as fragile as these stones (2020) is dedicated to Axel Ruoff. Two quieter outer sections surround a dramatic and energetic middle. Instrumentation: Organ Duration: 6' Composed: 2020 Published by: Zimbel Press.

Viola

SKU: FG.55011-686-3

Composed by Kalevi Aho. Classical. Book. Fennica Gehrman #55011-686-3. Published by Fennica Gehrman (FG.55011-686-3).

In spring 2020, coronavirus began spreading throughout the world and in many places people were subjected to quarantine. It was then that Hiyoli Togawa, a violist, proposed that the BIS record label release a viola disc entitled Songs of Solitude of short compositions by different contemporary composers, as a sort of reflection of the present time and offering comfort to listeners in their solitude. Hiyoli asked Kalevi Aho (b. 1949) to compose a piece in which she could play and sing simultaneously. The meditative, melancholy Am Horizont is dedicated to Hiyoli Togawa and composed in April 2020. Duration: c. 5'30''.

Score

SKU: HL.50603877

For Concert Band Score. Composed by Anders Koppel. Score. Softcover. 50 pages. Duration 720 seconds. Edition Wilhelm Hansen #WH33357. Published by Edition Wilhelm Hansen (HL.50603877).

ISBN 9788759843512. UPC: 196288020271.

Openi ng (2020) composed by Anders Koppel for concert band. Commissioned by and dedicated to Kobenhavns Kommunes Skoleorkester, on the occasion of the orchestra' s 65th anniversary 2020.

Orchestra

SKU: PR.11642055L

Composed by Elena Ruehr. Large Score. 87 pages. Merion Music #116-42055L. Published by Merion Music (PR.11642055L).

UPC: 680160690770.

Writt en in 2020 and dedicated to the memory my mother, RuthAnn Richwine Ruehr, this Requiem is also written in memory of all who passed in 2020. The text is an English translation of a standard Latin Mass, but it is secular: all religious words were either removed or replaced. It became a kind of outline of the five stages of grief: bargaining, sorrow, denial, anger and acceptance.

Chamber Music Clarinet

SKU: PR.114422950

Composed by Amanda Harberg. Full score. 4 pages. Duration 4:15. Theodore Presser Company #114-42295. Published by Theodore Presser Company (PR.114422950).

ISBN 9781491134870. UPC: 680160685370.

HALL OF GHOSTS was composed in 2020 during the Covidlockdown period. Evocative of imagined spirits in an empty concert hall, the music pits dramatic silences, amid searching and plaintive phrases of the clarinet, against a lively middle section — a dialogue between the ticking of time and an instrument striving to make itself heard. The work was inspired by piccoloist Gudrun Hinze’s video for Harberg’s Prayer Project, filmed in the hauntingly empty Gewandhaus Chamber Music Hall.
Hall of Ghosts was composed in April 2020 as a “thank you” gift dedicated to the wonderful community of flutists who participated in my Prayer Project – a virtual flute orchestra project that I produced during the Covid-19 lockdown period. In July 2021, I arranged Hall of Ghosts for clarinetist Christopher Pell, who premiered the new version at the Interlochen Center for the Arts.Hall of Ghosts was inspired by piccoloist Gudrun Hinze, who recorded her part for the Prayer Project in the empty Gewandhaus Chamber Music Hall. This hall would normally be full of musicians rehearsing and performing, but now, due to Covid-19, the hall lay empty and filled only with echoes and memories. The image of Gudrun’s solitary piccolo inspired in me a musical invocation, imploring the spirits to let the music return.In the first section, the silence of rests and pauses creates an expressive background for the searching and plaintive phrases of the solo piccolo. The lively middle section is a contrapuntal dialogue between the ticking of time and an instrument striving to make itself heard. These materials trade off throughout the piece. You can decide through your interpretation on who wins. The music? Or the ghosts?