for Solo Violin. By Augusta Read Thomas. String. Size 9x12 inches. 4 pages. Published by G. Schirmer, Inc. Incantation exhibits Augusta Read Thomas' enthusiasm for the violin. The five-minute work sings out, with beauty and grace, always with a richness and elegance. Falling loosely into an ABA form, it ends, as it were, on a question, with a major seventh hanging in the air, unresolved.

Flute (Flute)

SKU: HL.48182033

Composed by Pierre Max Dubois. Leduc. Classical. Softcover. 2 pages. Alphonse Leduc #AL22865. Published by Alphonse Leduc (HL.48182033).

UPC: 888680847142. 9.0x12.0x0.056 inches.

Pierre Max Dubois: Incantation et Danse (Flute solo).

Piano; Voice (Voice and Piano)

SKU: HL.48009196

Voice and Piano. Composed by Sergei Prokofiev. Edited by F.H. Schneider. This edition: M060020520. Boosey & Hawkes Voice. Classical, Contemporary, Russian. 35 pages. Boosey & Hawkes #M060020520. Published by Boosey & Hawkes (HL.48009196).

UPC: 073999091960. 9.25x12.25x0.077 inches.

Text in Russian, French, German and English Contents: An Incantation for Fire and Water * The Voice of Birds * The Butterfly * Think of Me! (A Malayan Incantation) * The Pillars.

Arranged by Jay Dawson. Score & Parts. Arrangers' Publ Marching Band. Grade 3. Arrangers' Publishing Company #M811. Published by Arrangers' Publishing Company

Arranged by Jay Dawson. Score & Parts. Arrangers' Publ Marching Band. Grade 4. Arrangers' Publishing Company #M722. Published by Arrangers' Publishing Company

Composed by Nancy Galbraith (1951-). Score & Part(s). Composed 1994. Duration 14'. Published by Subito Music Corporation (SU.90840040).

Composed by Johann Sebastian Bach (1685-1750). Leduc. Classical. Softcover. 24 pages. Alphonse Leduc #AL21289. Published by Alphonse Leduc

Chamber Music Alto Flute in G, Fortified Piano (or Harpsichord)

SKU: PR.144405570

For Alto Flute In G and fortified Piano (Or Harpsichord). Composed by David Ward-steinman. Premiere: Indiana University (James Pellerite, Nat.Amer. Fl., David Ward-Steinman, Pno.). Contemporary. Set of Score and Parts. With Standard notation. Composed November 8 2010. 8+4 pages. Duration 6 minutes. Theodore Presser Company #144-40557. Published by Theodore Presser Company (PR.144405570).

UPC: 680160604340. 8.5 x 11 inches.

Ward-Steinm an originally wrote his Incantation and Dance for the great James Pellerite (who premiered the work), as an accompanied solo for the five-hole Native American flute. He found that this version for alto flute takes advantage of its larger range and opens up the piece to new possibilities. The foritified piano uses a clave or wooden ruler to cover a range of strings, and is unchanged in this version. A chamber orchestra accompaniment is also available on rental. For advanced performers. Duration: 6'.

Solo Viola. By Augusta Read Thomas. String. Size 9x12 inches. 6 pages. Published by G. Schirmer, Inc.

By Alice Parker. For SA choir. (with piano & clarinet). Elinor Wylie: Incantations, #1. Secular. Level: Medium-Difficult. Published by Treble Clef Music Press.

Orchestra

SKU: HL.48182780

Composed by Cornel Taranu. Leduc. Classical. Softcover. Alphonse Leduc #AL24412. Published by Alphonse Leduc (HL.48182780).

UPC: 888680872137. 7.25x10.75x0.141 inches.

Cornel Taranu: Incantations (Orchestra).

Flute

SKU: HL.48184112

Composed by Ivan Jevtic. Leduc. Classical. Softcover. 8 pages. Alphonse Leduc #AL27041. Published by Alphonse Leduc (HL.48184112).

UPC: 888680832919. 9x12 inches.

Ivan Jevtic: Incantations (Flute solo).

By Various. Edited by Mirjam Nastasi. For Flute. The Solo Flute Volume 4: 1900 to 1960. Modern

Solo Piano

SKU: SU.19010100

For solo Piano. Composed by Craig Urquhart. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #19010100. Published by Subito Music Corporation (SU.19010100).

Nine pieces for solo piano Contents: Incantation I, The Dream of the Children, The Dream of Make Believe, Incantation II, The Dream of Flight, The Dream of Mother Earth, Incantation III, The Dream of the Silent One, The Wonder of Miracles Composed: 1993 Published by: Heart Earth Music Audio CD also available (#19019140).

Class Piano

SKU: SU.26100100

For Class Piano. Composed by Thomas Parente. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #26100100. Published by Subito Music Corporation (SU.26100100).

Works for solo piano composed and played by Craig Urquhart #717621000226 Incantation I The Dream of the Children The Dream of Make Believe Incantation II The Dream of Flight The Dream of Mother Earth Incantation III The Dream of the Silent One The Wonder of Miracles.

Mixed choir

SKU: FG.55011-858-4

Incantation of Vowels. Composed by Žibuoklė Martinaitytė. Classical, contemporary. Book. Fennica Gehrman #55011-858-4. Published by Fennica Gehrman (FG.55011-858-4).

Chant des Voyelles - Incantation of Vowels (2018) for mixed choir (SSAATTBB) was premiered by Volti on May 4, 2018 at Noe Vallay Ministry in San Francisco and on May 6, 2018 at BAMPFA, in Berkeley, California.

Martin aitytė encountered at the Rockefeller estate Kykuit near New York City a work by the cubist sculptor Jacques Lipchitz called Chant des Voyelles . It was titled after an Egyptian prayer composed only of vowels that was designed to subdue the forces of nature. Further research showed that many ancient traditions (Egyptians, Greeks and Tibetans) ascribed sacred, mystical and healing powers and significance to vowels. The details might vary in different traditions, yet it is clear that something miraculous happens through the very act of prolonged repetition of certain vowels - whether in the form of a mantra or prayer or as a self-healing ritual.

This work experiments with subtly shifting, sometimes barely audible clouds of overtones resulting from the sustaining of certain vowels in multiple voices in a magical way.

Duration: 16-17'

The works of New York -based Lithuanian composer Žibuoklė Martinaitytė (b. 1973) have been lauded as breathtaking and profoundly moving. Her stimulating music bristles with energy and tension and revolves often around the subject of beauty, which she calls both a guiding principle and an aesthetic measure for sonic quality.

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.

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.

Bass Clarinet. By Jack Saunders, Paula Crider. Essential Musicianship Band. BOOK W/CD. 80 pages. Published by Hal Leonard.

Orchestra

SKU: HL.48187412

Composed by Darius Milhaud. Leduc. Classical. Softcover. 167 pages. Heugel & Cie #HE30244. Published by Heugel & Cie (HL.48187412).

UPC: 888680846855. 6.5x8.25x0.686 inches.

1.Vociferat ion funebre; 2.Libation; 3.Incantation; 4.Presages; 5.Exhortation; 6.Hymne a la Justice; 7.Conclusion (Soli, SATB chorus and piano duet (or orchestra)).

Alto Saxophone. By Paula Crider, Jack Saunders. Essential Musicianship Band. BOOK W/CD. 84 pages. Published by Hal Leonard.

Klavierkonzert Nr. 4. By Bohuslav Martinu. For Piano Solo, Orchestra. Baerenreiter Studienpartituren - Study scores. Study Score. Published by Baerenreiter-Taschenparti turen (German import).

Flute. By Paula Crider, Jack Saunders. Essential Musicianship Band. BOOK W/CD. 84 pages. Published by Hal Leonard.

Composed by Bohuslav Martinu (1890-1959). Edited by Ivana Kalina Tabak. This edition: complete edition, urtext edition. Cloth bound. The Bohuslav Martinu Complete Edition III/1/5. Complete Edition, Score, anthology. Baerenreiter Verlag #BA10579- 01. Published by Baerenreiter Verlag

Chamber orchestra

SKU: HH.HH005-FSC

Composed by Lawrence Casserley. Chamber Orchestra. Full score. Duration 10 minutes, 30 seconds. Edition HH Music Publishers #HH005-FSC. Published by Edition HH Music Publishers (HH.HH005-FSC).

ISBN 9790708024101.

Spar ingly scored, these miniatures are full of surprise and delight. The work consists of nine short sections played continuously. In Mixture 1 Incantation, linear counterpoint for high woodwind and low strings is interspersed by distinctive brass figures and percussion motives. A brief Solo for double bass leads into Interlude 1 where harmonic writing is broken by short woodwind fragments before Duet where a simple rhythmic cell is developed by the brass instruments. Mixture 2 Exultation alternate block chords with active rhythmic activity. The Trio for flute, clarinet and percussion is followed by Interlude 2 where woodwind and string counterpoint is interrupted by static chords. After a short Quartet for trumpet and strings, Mixture 3 Apotheosis combines the techniques of the earlier movements. An original and rewarding work.