(A New Alice. A New Musical.). By Frank Wildhorn. Piano/Vocal/Guitar Songbook. Softcover. 144 pages. Published by Cherry Lane Music

Mixed Choir a cappella

SKU: BT.PMC3676

Mixed chorus a cappella. Composed by Morten Lauridsen. Score Only. 8 pages. Peermusic Classical #PMC3676. Published by Peermusic Classical (BT.PMC3676).

These two anthems are examples of Lauridsen's style in embryo, as it were, for both were written while the composer was just twenty-seven years old. Both anthems evince the contrapuntal mastery that would prove an enduring featureof the composer's technique. The pure and austere lines of I will lift up mine eyes, an a cappella setting of Psalm 121, evoke ancient organum and the imitative devices of Medieval polyphony. Complex chord structures and elaboratecanonic procedures give O come, let us sing unto the Lord a sense of inexorable forward momentum. The coruscating organ part further enhances the prevailing mood of joy that pervades this anthem. --Byron Adams.

By Morten Lauridsen (1943-). SATB. Peermusic Classical. Softcover. 8 pages. Peermusic #62180-121. Published by Peermusic

(Leadsheets for Performance and Personal Enjoyment). Composed by David Mcdonald. For voice solo. Sacred Vocal. Published by Lillenas Publishing Company

Composed by William Bolcom. E.B. Marks. Classical, Contemporary. Softcover. 12 pages. Edward B. Marks Music #EBM210361. Published by Edward B. Marks Music

Mixed Choir a cappella

SKU: BT.PMC3677

Mixed chorus a cappella. Composed by Morten Lauridsen. Choral Score. 18 pages. Peermusic Classical #PMC3677. Published by Peermusic Classical (BT.PMC3677).

These two anthems are examples of Lauridsen's style in embryo, as it were, for both were written while the composer was just twenty-seven years old. Both anthems evince the contrapuntal mastery that would prove an enduring featureof the composer's technique. The pure and austere lines of I will lift up mine eyes, an a cappella setting of Psalm 121, evoke ancient organum and the imitative devices of Medieval polyphony. Complex chord structures and elaboratecanonic procedures give O come, let us sing unto the Lord a sense of inexorable forward momentum. The coruscating organ part further enhances the prevailing mood of joy that pervades this anthem. --Byron Adams.

(SSAATTBB choir)

SKU: HL.48024952

SATB Divisi a cappella. Composed by Becky McGlade. Boosey & Hawkes Sacred Choral. Octavo. Boosey & Hawkes #M060137235. Published by Boosey & Hawkes (HL.48024952).

ISBN 9781784545987. UPC: 840126947243. 6.75x10.5 inches.

I was introduced to William Blake's poem The Lamb many years ago through John Tavener's famous setting and, when commissioned by York Minster to write a carol for their 2019 nine lessons and carols services, the idea of writing my own setting of this beautiful poem was hard to resist. For me, the biblical symbol of the lamb represents one of the most profound theological mysteries. That divine omnipotence as represented by the symbolic lamb speaks volumes of the humility and self-sacrificing nature of God; complexity illustrated in simplicity. The poet has seen within the vulnerability of the lamb, the profundity of God's self-sacrifice. I looked to convey the innocence of the lamb through the gentle opening of the piece with its simple melody and harmony. The harmonies gradually intensify as the questions of the text continue, and there is a stronger feel to the second verse as those questions begin to be answered and it is revealed that the Creator God is Himself the Lamb. A feeling of space should prevail, without the tempo dragging. The commas in bars 29, 33, 46, 51 and 52 imply there should be room to breathe, but not a whole quaver's worth of breath if possible.

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253).

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.