by Stacy Phillips. For fiddle and violin. Jewish. Level: Intermediate. Book. Solos. Size 8.75x11.75. 192 pages. Published by Mel Bay Pub., Inc.

Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, Percussion, Viola, Violin

SKU: CF.FE189S

Composed by Samuel Adler. Large Score. With Standard notation. 41 pages. Duration 10 minutes. Carl Fischer Music #FE189S. Published by Carl Fischer Music (CF.FE189S).

ISBN 9780825877520. UPC: 798408077525. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, Percussion, Viola, Violin

SKU: CF.FE189

Composed by Samuel Adler. Set of Score and Parts. With Standard notation. 41+4+4+4+2+3+3+3+3 pages. Duration 10 minutes. Carl Fischer Music #FE189. Published by Carl Fischer Music (CF.FE189).

ISBN 9780825877513. UPC: 798408077518. 9.5 x 13 inches.

Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth Testimonium, a festival to preserve Jewish heritage. The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist. It is dedicated to Recha Freier, the originator and prime mover of the festival. Nuptial Scene is based on a simple medieval poem of prenuptial instruction. Part of it is in Catalan and part in Hebrew. The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492. A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a new song for a new bride. When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty. This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction. When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills -- the dress, the party, the dancing. In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent. Therefore, during the mother's ardent pleas, instructions, admonitions, and even innuendos, the daughter's mind wanders and dreams of dancing. Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance. At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit -- with the use of improvised melodic lines for which only the gestural outlines are given -- she goes into a kind of rapturous trance. The daughter, however, seems unmoved, and she falls asleep. The mother calms down, puts her head on the daughter's shoulder, and quietly muses, then also closes her eyes. --Samuel Adler  .
Nuptial Scene was commissioned by the Jerusalem Symphony Orchestra in cooperation with the city of Jerusalem for the celebration of the fourth “Testimonium” , a festival to preserve Jewish heritage.  The work was written in September, 1975, and premiered in Jerusalem in February, 1976, with the Jerusalem Symphony, Juan Pablo Izquierdo conducting, and Adi Etzion as soloist.   It is dedicated to Recha Freier, the originator and prime mover of the festival.Nuptial Scene is based on a simple medieval poem of prenuptial instruction.  Part of it is in Catalan and part in Hebrew.  The poem originated in Catalonia, where a highly developed Jewish community existed until the expulsion of 1492.  A mother is instructing her daughter in the ways and strategies of marriage and rejoicing with a “new song” for a “new bride”.When I initially planned the setting for this lovely poem, I realized that the age of the daughter would be about twelve, for girls in that historical period were married at puberty.  This set in motion a scheme for the composition, since my oldest daughter was thirteen at that time, and I used her psyche to give me direction.  When a girl of twelve or thirteen thinks of a wedding, she is completely captivated by its frills — the dress, the party, the dancing.  In her imagination, the reality of a husband or any kind of domestic responsibility would be nonexistent.  Therefore, during the mother’s ardent pleas, instructions, admonitions, and even innuendos, the daughter’s mind wanders and dreams of dancing.  Musically, the rather straight, somber rhythm and melody of the song are interrupted by an independent, faster dance speed of the bongos and by scattered fragments of an actual medieval Spanish-Jewish dance.  At the point where the mother speaks of sensuous marital problems, she herself becomes excited, and in a nostalgic, dreamlike spirit — with the use of improvised melodic lines for which only the gestural outlines are given — she goes into a kind of rapturous trance.  The daughter, however, seems unmoved, and she falls asleep.  The mother calms down, puts her head on the daughter’s shoulder, and quietly muses, then also closes her eyes.—Samuel Adler .

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Flute 1, Flute 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo, Ride Cymbal, Tambourine, Tom-tom, Triangle, Wood Block, alto Saxophone 1 and more. - Grade 3

SKU: CF.CPS264

Composed by Lauren Bernofsky. Cps. Set of Score and Parts. 1+8+8+4+4+8+8+8+4+4+4+4+4 +4+4+4+4+4+28 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #CPS264. Published by Carl Fischer Music (CF.CPS264).

ISBN 9781491161418. UPC: 680160920006.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Flute 1, Flute 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo, Ride Cymbal, Tambourine, Tom-tom, Triangle, Wood Block, alto Saxophone 1 and more. - Grade 3

SKU: CF.CPS264F

Composed by Lauren Bernofsky. Cps. Full score. 28 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #CPS264F. Published by Carl Fischer Music (CF.CPS264F).

ISBN 9781491161746. UPC: 680160920433.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh� �) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.

Composed by Hankus Netsky. For Concert Band (Score and Parts). BandQuest. Grade 3. Published by BandQuest

Tara Publications (Tara: The Best in Jewish Music). Size 9x12 inches. 176 pages. Published by Tara Publications.

Arranged by Fred Fastow. Transcontinental Music Folios. Size 8.5x11 inches. 27 pages. Published by Transcontinental Music Publications.

Judith Clurman Rejoice: Honoring the Jewish Spirit Choral Series. Choral. Festival, Jewish, Concert. Octavo. Published by Hal Leonard

Level 1 Piano - Elementary

SKU: HL.645136

Level 1 Elementary Level. Composed by Giovanni Avolio. Arranged by Wesley Schaum. Educational Piano. Folk, Israeli, Jewish. Softcover. 12 pages. Schaum Publications, Inc. #1733. Published by Schaum Publications, Inc. (HL.645136).

ISBN 9781936098804. UPC: 008148017331. 9.0x12.0x0.055 inches.

NFMC 2016-2020 Piano Hymn Event Primary B Selection 9 Jewish folk and holiday songs: Artza Alinu (folk dance) * Avinu Malkeynu (traditional) * Eliyahu Havavi (Israeli National Anthem) * Hava Nagila (Israeli folk song) * Hevenu Shalom Aleychem (Sabbath Greeting Song) * Mazel Tov (traditional Yiddish) * Purim Day (traditional) * Zum Gali Gali (Israeli folk tune).

42 Klezmer Favorites for Clarinet and B-Flat Instruments. By Avrahm Galper. For Clarinet. Solos. Avrahm Galper. Jewish. Level: Intermediate. Book. Size 8.5x11. 44 pages. Published by Mel Bay Publications, Inc.

Arranged by Maurice Goldman. For Choir. (SATB). Choral Octavo. Lawson-Gould. Jewish Heritage, Jewish. Choral Octavo. 16 pages. Published by Alfred Publishing.

Clarinet, String quartet, percussion, tuba

SKU: OT.37019SET

Composed by Lev Kogan. Arranged by Alan Kaufman. For clarinet, strings, percussion, and tuba. Klezmer. Score and Parts. OR-TAV Music Publications #37019SET. Published by OR-TAV Music Publications (OT.37019SET).

8.27 x 11.69 inches.

Lev Kogan
Klezmer Dance Suite for clarinet, strings, percussion, and tuba
arranged by Alan Kaufman, with cadenzas by Gene Kavadlo
Score and one copy each part
I have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.
I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.
The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.
Gene Kavadlo
Lev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.
Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.

Clarinet, Strings, percussion, tuba

SKU: OT.37019

Composed by Lev Kogan. Arranged by Alan Kaufman. For clarinet, strings, percussion, and tuba. Klezmer. Score. OR-TAV Music Publications #37019. Published by OR-TAV Music Publications (OT.37019).

ISBN 9789655050851. 8.27 x 11.69 inches.

Lev Kogan
Klezmer Dance Suite for clarinet, strings, percussion, and tuba
arranged by Alan Kaufman, with cadenzas by Gene Kavadlo
Score. A set of parts may be ordered separately.
There is also an edition for small ensemble including a score and one copy each part, SKU 37019set
I have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.
I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.
The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.
Gene Kavadlo
Lev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.
Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.

Clarinet, Strings, percussion, tuba

SKU: OT.37019PARTS

Composed by Lev Kogan. Arranged by Alan Kaufman. For clarinet, strings, percussion, and tuba. Klezmer. Set of parts. OR-TAV Music Publications #37019PARTS. Published by OR-TAV Music Publications (OT.37019PARTS).

8.27 x 11.69 inches.

Lev Kogan
Klezmer Dance Suite for clarinet, strings, percussion, and tuba
arranged by Alan Kaufman, with cadenzas by Gene Kavadlo
Set of parts
There is also an edition for small ensemble including a score and one copy each part, SKU 37019set
I have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.
I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.
The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.
Gene Kavadlo
Lev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.
Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.

By Various. Arranged by Gary Meisner. Accordion. Softcover. 48 pages. Published by Hal Leonard

Edited by Edward Huws Jones. Collection. Student book and play-along CD. Published by ABRSM (Associated Board of the Royal Schools of Music)

(Klezmer Music for Strings). Arranged by Susan C. Brown. Orchestra. String Orchestra. Belwin Concert String Orchestra. Folk; Jewish Heritage. Grade 3.5. Conductor Score. 12 pages

Arranged by Sally K. Albrecht. For Choir. (SAB). Choral Octavo. Choral Designs. Folk Song; Jewish Heritage. Choral Octavo. 12 pages. Published by Alfred Publishing.

By Julius Chajes. (SATB). Transcontinental Music Choral. Jewish. 6 pages. Published by Transcontinental Music Publications.

(Klezmer Music for Strings). Arranged by Susan C. Brown. Orchestra. String Orchestra. Belwin Concert String Orchestra. Folk; Jewish Heritage. Grade 3.5. Conductor Score and Parts. 128 pages

By Riccardo Joshua Moretti. For Violin and Viola. Score and parts. 84 pages. Published by Ut Orpheus

By Philip Kern And John Parker Iii. For Choir. (SAB). Choral Octavo. Choral Designs. Jewish. Choral Octavo. 12 pages. Published by Alfred Publishing.

Violin and Piano. By Paul Dessau. (Violin). Schott. Book only. Size 9x12 inches. Published by Schott.

Edited by Edward Huws Jones. For Piano. Collection. Accompaniment book. Published by ABRSM (Associated Board of the Royal Schools of Music)

(Russian, Jewish, and Roma Songs and Dances). By Peter Michael Haas. For Accordion (All). Beginning-Intermediate. Book/CD Set. 104 pages. Published by AMA Verlag