Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Extra full score. Composed 2007. Duration 9 minutes, 32 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Oversized spiral-bound score. Composed 2007. Duration 9 minutes, 32 seconds. Published by Opus III Wind Orchestra Publications

Double Bass

SKU: BT.MUSM570367320

Composed by Sadie Harrison. Book Only. 12 pages. University of York Music Press #MUSM570367320. Published by University of York Music Press (BT.MUSM570367320).

English.

Sadie Harrison's Ha llristningsomra det  for solo Double Bass. Composed and published 2016. Duration c. 10 minutes The area of Tanumshede is situated on the south western coast of Sweden. Archaeologically, it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels, the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting, agricultural and livestock farming and warring, with many armoured figures carrying swords, axes and shields. Whilst it is possible tointerpret most carvings as images of quotidian life, the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods, often surrounded by abstract symbols - crosses, dots and ‘cups’, the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons, vehicles, tools, ships, even hairstyles, the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal, making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman, apparently weeping over a dead warrior from a ship. Her grief, ‘heavy as rocks’ is heard in the opening movement of the piece, echoing through the remaining movements and giving the work its dark, melancholy character. The Woman returns in the final movement as a ghost, her footsteps coming closer and closer as her ‘lover’s&rsqu o; ship is rebuilt over and over again. Movement III is gentler in tone, a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps juggling the fate of The Grieving Woman.

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Oversized spiral-bound score. Composed 2007. Duration 6 minutes, 37 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Score and set of parts. Composed 2007. Duration 6 minutes, 37 seconds. Published by Opus III Wind Orchestra Publications

Composed by Robert W. Smith. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR356). Extra full score. Composed 2008. Duration 8 minutes, 6 seconds. Published by Opus III Wind Orchestra Publications

Composed by Robert W. Smith. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR356). Score and set of parts. Composed 2008. Duration 8 minutes, 6 seconds. Published by Opus III Wind Orchestra Publications

Composed by Robert W. Smith. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR356). Oversized spiral-bound score. Composed 2008. Duration 8 minutes, 6 seconds. Published by Opus III Wind Orchestra Publications

Soprano, Mezzo-soprano, Tenor soloists, SATB (div) choir, English horn, Cello, Percussion [Timpani, Snare Drum, Marimba, Glockenspiel, Tubular Bells], Organ Duration: 23' Movement I: By Soul (Philosophically) [Shakespeare Sonnet No. 73]; Movement II: In Good Humor [Sir John Suckling & Psalms 47, 57, 66]; Movement III: By Heart (Romantically) [Christina Rossetti]; Movement IV: With Open Eyes [Meditations (Gates of Repentance) and Psalms 84, 96, 100] Composed: 2007 Published by: Subito Music Publishing

Quintet Flute, Oboe, Clarinet, Horn in F, and Bassoon opt. Bb Bass Clarinet - 4.5

SKU: KN.16981

(Themes From Movement III, No. 8, Op. 13). Composed by Ludwing Van Beethoven. Arranged by Greg Yasinitsky. Ensemble. Kendor Ensemble Series. Duration 3 minutes, 55 seconds. Kendor Music Inc #16981. Published by Kendor Music Inc (KN.16981).

UPC: 822795169812.

The Rondo movement from Ludwig van Beethoven's Pathetique Sonata (No. 8, Op. 13) is one of the most beautiful and exciting pieces of all time. This grade 4+ edition, expertly arranged by Gregory Yasinitsky, is ideal for concert and ensemble festival performance. Duration 3:55.

By Carl Philipp Emanuel Bach. Edited by Darrel M. Berg. Piano (Harpsichord), 2-hands. Pages: VIII and 106. Urtext edition-paper bound. Published by G. Henle.

Movement III - Mother Earth (SSA Choral Part). Composed by Johan De Meij. Amstel Music. Concert Piece. Set (Score and Parts). Composed 2007. Amstel Music #AM 93-050. Published by Amstel Music

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Oversized spiral-bound score. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Extra full score. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Score and set of parts. Composed 2007. Duration 7 minutes, 13 seconds. Published by Opus III Wind Orchestra Publications

(Menuetto And Trio). Composed by Ludwig van Beethoven (1770-1827). Arranged by Contorno. For Woodwind Quintet (flute, oboe, Bb clarinet, horn in f, bassoon (opt. Bb bass clarinet)). Grade 3. Published by Kendor Music Inc

((Movement III)). Composed by Sergei Rachmaninoff (1873-1943). Arranged by Paul Lavender. For Concert Band, Symphonic Band (Score and Parts). Boosey and Hawkes Concert Band. Grade 5. Published by Boosey and Hawkes

By Vaclav Nelhybel. By Vaclav Nelhybel. For Concert Band. Concert Band. Belwin Classic Band. Level: Medium Easy (grade III). Conductor Score & Parts. 234 pages. Duration 6:34. Published by Alfred Publishing.

By Robert W. Smith. By Robert W. Smith. For Full Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Level: Easy to Medium Easy (grade II-III). Conductor Score & Parts. 142 pages. Published by Alfred Publishing.

String quartet

SKU: BP.2258B

String Quartet. Composed by Craig Courtney. Sacred octavos. Sacred. Score and parts. Beckenhorst Press #2258B. Published by Beckenhorst Press (BP.2258B).

Printed Score and Parts for String Quartet for The Blessing (movement III of Divine Encounter).

Brass sextet

SKU: BP.2258A

Brass Sextet. Composed by Craig Courtney. Sacred octavos. Sacred. Score and parts. Beckenhorst Press #2258A. Published by Beckenhorst Press (BP.2258A).

Printed Score and Parts for 2 Tpts, Hn, 2 Tbns, Bass Tbn for The Blessing (movement III of Divine Encounter).

Piano

SKU: BP.2258E

Piano Accompaniment. Composed by Craig Courtney. Sacred octavos. Sacred. Accompaniment part. Beckenhorst Press #2258E. Published by Beckenhorst Press (BP.2258E).

Printed optional piano accompaniment for The Blessing (movement III of Divine Encounter). May be used instead of the organ accompaniment printed in the choral score.

Orchestra

SKU: BP.2258D

Full Orchestra. Composed by Craig Courtney. Sacred octavos. Sacred. Score and parts. Beckenhorst Press #2258D. Published by Beckenhorst Press (BP.2258D).

Printed Score and Parts for full orchestra for The Blessing (movement III of Divine Encounter).

Score. By Samuel R. Hazo. (Score). MusicWorks Grade 5. Concert Band. Score and full set of parts. 28 pages. Published by Hal Leonard.

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.