By Jane Marshall. For SATB choir, a cappella. Choral, marian festivals. Easy. Octavo. Composed 2011. 3 pages. Duration c. 1 minute, 20 seconds. Published by E.C. Schirmer Publishing

Chamber Music Cello, Flute, Viola 1, Viola 2, Violin

SKU: CF.MXE219

Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219).

ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches.

Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020.
PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozartâ� ��™s friend Hoffmeister had regrettably attempted such “improvementsâ€� �—I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints” of imagined chamber works. Hence my task was to “flesh out” the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right” one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.” Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.” That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind” by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus” persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet” between flute and first viola seems to anticipate the impassioned “duetting” between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock” section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new” Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020.

By Larry L. Fleming. For SATB choir, 1 Handbells. Holy Week. National Lutheran Choir Series. Anthem. Choral Octavo. Published by Augsburg Fortress

Composed by John Purifoy. Arranged by John Purifoy. Shawnee Sacred. General Worship, Sacred. Octavo. 12 pages. Published by Shawnee Press

By Craig Curry and Julie I. Myers. For Choral (SATB). Glory Sound. Octavo. 12 pages. Published by GlorySound

Cello - Intermediate-Advanced

SKU: HL.14017469

Composed by Kaija Saariaho. Music Sales America. Post-1900. Sheet Music, Score. With Text language: English. Chester Music #CH61806. Published by Chester Music (HL.14017469).

UPC: 884088812041. 8.5x11.0x0.419 inches.

Composer's Note When I considered the ensemble of eight cellos, I first thought of matt and dark textures. I also wanted to go back to some ideas on symmetry. While I was pondering all that, I saw snow flakes falling from the dark sky of the Finnish autumn. Focusing on the snow, the idea of writing variations on it and its various forms became clearer in my mind.Nuages de neige is a uniform and linear texture in which I realise my first impressions of that ensemble. The two Etoiles de neige are based on the idea of symmetry and repetition: the first one develops up to a certain point where it doubles back as in a mirror image, the second one consists of eight sections in which the harmonic structure is repeated, as well as a linear gesture that becomes ever more present. Aguilles de glace focuses on different pizzicati and superimposed ostinati. With Fleurs de neige I sought to recall the texture of those harmonic trills at the end of the first section, although more airy and diversified here. Kaija Saariaho.

Band Concert Band - Grade 2

SKU: CF.YPS190

Composed by John Pasternak. SWS FS. Carl Fischer Young Performance Series. Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+4+6+2+2+4+2+20 pages. Duration 4 minutes, 17 seconds. Carl Fischer Music #YPS190. Published by Carl Fischer Music (CF.YPS190).

ISBN 9781491147429. UPC: 680160904921. 9 x 12 inches. Key: Eb major.

Geauga Lake: An Epilogue is a reflective piece depicting an amusement park from a bygone era. The piece evokes musically the fun and excitement felt by the many visitors to the park while at the same time pondering the melancholic thought that the park will never again entertain. Pasternak's unique voice and talent for composition is sure to please students and audiences alike.

Chamber Music Horn Quartet

SKU: PR.144407090

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+4+4+4+4 pages. Duration 3:45. Theodore Presser Company #144-40709. Published by Theodore Presser Company (PR.144407090).

UPC: 680160655854. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.144407070

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+2+2+2+2 pages. Duration 3:45. Theodore Presser Company #144-40707. Published by Theodore Presser Company (PR.144407070).

UPC: 680160655793. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Symphonic Works (Study Score)

SKU: HL.50510058

Score. Composed by Ludwig van Beethoven. Arranged by Gá and bor Darvas. Classic. EMB. Pocket score. Op. 125. 299 pages. Editio Musica Budapest #Z40036. Published by Editio Musica Budapest (HL.50510058).

ISBN 9790080400364. UPC: 073999597790. 5.5x8.0x0.66 inches. Gabor Darvas.

Beethoven had been pondering over the plan of the Ninth Symphony for 30 years. He was occupied with Schiller's 'Ode to Joy' as early as 1793. From 1809 on the first drafts of the musical ideas of the work appeared among his sketches. In fact, he began the meticulous elaboration of this monumental composition only in the autumn of 1822. The first performance took place on May 7, 1824 in the Karntnertor-Theater in Vienna. Although the conductor Umlauf, the soloists, the choir and the orchestra had only a few rehearsals at their disposal to come over the extraordinary difficulties of the piece, the Ninth Symphony had a great succes, in spite of certain shortcomings of the performance. After the first performance Beethoven made some changes in the autograph manuscript. This corrected copy served as a basis for the score printed in 1826 which is beyond doubt the final and authentic version. All the more so, as the composer carefully controlled the preparation of the publication. The source of the present edition is therefore the first printed score.

SKU: GI.G-7314

Essays on Music and Life. Composed by Edwin E. Gordon. Music Learning Theory (MLT). Instructional. 120 pages. GIA Publications #7314. Published by GIA Publications (GI.G-7314).

ISBN 9781579997212. English.

Every great thinker and innovator, no matter the depth and breadth of his work, has moments of reflection on the business of living. Although the level of commitment required to take an insight from an “ah-ha!” moment to a fully realized groundbreaking concept is high (some would say, even life-consuming), even in the midst of such an endeavor, there is time to think on the small (and not so small) aspects of what it means to be human, what it means to get along in the world.Edwin E. Gordon is perhaps the world’s principal thinker and researcher in music education. But, as with other great thinkers, Gordon has had many moments of reflection on the business of living. In Whittled Wordscapes, he shares his thoughts on a wide variety of topics, from Money, Athletics, and the Arts, to Mazeltov, from What Is Intelligence? To Yellow Pads and Computers. In this collection of 54 brief essays Gordon shares thoughts and insights that are inspiring, challenging, and always thought-provoking.Whittle d Wordscapes is a rare glimpse of a great thinker’s mind as he considers what makes the world tick. As you read, you will discover your own “ah-ha!” moments, and will find yourself pondering what Gordon says long after putting down this fascinating book.

Chamber Music Horn Quartet

SKU: PR.14440711S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 12 pages. Duration 4 minutes. Theodore Presser Company #144-40711S. Published by Theodore Presser Company (PR.14440711S).

UPC: 680160655939. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

MixCh (SSATBB) (Mixed choir (SSATBB))

SKU: BA.BA08528

Composed by Marten Jansson. Stapled. Choral score. 11 pages. Baerenreiter Verlag #BA08528_00. Published by Baerenreiter Verlag (BA.BA08528).

ISBN 9790006568888. 27 x 19 cm inches. Text Language: Latin. Text: Silvestri, Charles Anthony.

“Sti llae” was composed for the “Jugendkonzertchor der Chorakademie Dortmund” who won first prize in the “Mårten Jansson Choral Competition” in 2018. The American poet Charles Anthony Silvestri wrote the lyrics.

The poem is divided in four short clear Latin verses resembling the form of medieval poetry. The first three verses offer short glimpses of Mary’s life with Jesus described through different kinds of drops – Stillae:
Drops of water – when she bathes her tiny son
Drops of tears – when she cries while pondering his fate, and finally
Drops of blood – that fall on her face from the cross

The music and lyrics paint this transition from happiness to worry and deepest grief, concluding in a final verse; a still prayer to Mary to take our drops, our prayers, and offer them to Jesus.

Chamber Music Horn Quartet

SKU: PR.144407150

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+4+4+4+4 pages. Duration 3:30. Theodore Presser Company #144-40715. Published by Theodore Presser Company (PR.144407150).

UPC: 680160656035. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.144407100

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+4+4+4+4 pages. Duration 3:30. Theodore Presser Company #144-40710. Published by Theodore Presser Company (PR.144407100).

UPC: 680160655885. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.14440707S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:45. Theodore Presser Company #144-40707S. Published by Theodore Presser Company (PR.14440707S).

UPC: 680160655816. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.14440713S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:45. Theodore Presser Company #144-40713S. Published by Theodore Presser Company (PR.14440713S).

UPC: 680160655991. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.14440708S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:30. Theodore Presser Company #144-40708S. Published by Theodore Presser Company (PR.14440708S).

UPC: 680160655847. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.144407130

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+2+2+2+2 pages. Duration 3:45. Theodore Presser Company #144-40713. Published by Theodore Presser Company (PR.144407130).

UPC: 680160655977. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.144407080

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 8+4+4+4+4 pages. Duration 3:30. Theodore Presser Company #144-40708. Published by Theodore Presser Company (PR.144407080).

UPC: 680160655823. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

SKU: LO.99-2073H

Composed by Earlene Rentz. Choral. Concert. Performance/accompaniment CD. Heritage Music Press #99/2073H. Published by Heritage Music Press (LO.99-2073H).

UPC: 000308114270.

An absolutely gorgeous original setting, unique in that meter changes enhance the natural rhythm and melodic movement of the text and music. The lyrics express a man in love, pondering all of the reasons why the object of his love is unaware of his feelings. A marvelous male choir showcase!

Chamber Music Horn Quartet

SKU: PR.14440709S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:45. Theodore Presser Company #144-40709S. Published by Theodore Presser Company (PR.14440709S).

UPC: 680160655878. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Oboe

SKU: HL.49044074

For solo oboe. Composed by Kenneth Hesketh. This edition: Saddle stitching. Sheet music. Woodwind Solo. Softcover. Composed 2002. 12 pages. Duration 8'. Schott Music #ED13220. Published by Schott Music (HL.49044074).

ISBN 9790220134586. UPC: 841886021976. 9.0x12.0x0.075 inches.

Stimulated by my love of automata, this work for solo oboe takes its name from the invention of Wolfgang von Kempelen, who in the late eighteenth century constructed an extraordinary mechanical man powered by clockwork, dressed in a stylish Turkish costume and capable of playing chess. The chess player turned out to be a fraud but sparked many other thinkers and inventors to pondering what the possibilities of automation might be. In Hesketh's highly virtuosic work, the through-composed melody is subjected to a series of distortions by pulleys, cams, gears and cranks. There are also the onomatopoeic effects of winding up and whirring noises that add to the air of the mechanical.

Chamber Music Horn Quartet

SKU: PR.144407120

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 12+4+4+4+4 pages. Duration 3:45. Theodore Presser Company #144-40712. Published by Theodore Presser Company (PR.144407120).

UPC: 680160655946. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.14440715S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:30. Theodore Presser Company #144-40715S. Published by Theodore Presser Company (PR.14440715S).

UPC: 680160656059. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Composed by David Maslanka. For euphonium, piano. Contemporary. Solo part with piano reduction. Published by Carl Fischer

Chamber Music Horn Quartet

SKU: PR.144407140

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Set of Score and Parts. With Standard notation. Composed 2016-2017. 12+4+4+4+4 pages. Duration 4 minutes. Theodore Presser Company #144-40714. Published by Theodore Presser Company (PR.144407140).

UPC: 680160656004. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

Chamber Music Horn Quartet

SKU: PR.14440706S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:30. Theodore Presser Company #144-40706S. Published by Theodore Presser Company (PR.14440706S).

UPC: 680160655786. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.

TTB/TBB choir, piano

SKU: LO.15-2240H

Composed by Earlene Rentz. Choral. Concert. Octavo. Heritage Music Press #15/2240H. Published by Heritage Music Press (LO.15-2240H).

ISBN 9780893285906.

An absolutely gorgeous original setting, unique in that meter changes enhance the natural rhythm and melodic movement of the text and music. The lyrics express a man in love, pondering all of the reasons why the object of his love is unaware of his feelings. A marvelous male choir showcase!

Chamber Music Horn Quartet

SKU: PR.14440710S

Arden Horn Quartets. Composed by Robert Martin. Premiered by The Golden Horns. Contemporary. Full score. With Standard notation. Composed 2016-2017. 8 pages. Duration 3:30. Theodore Presser Company #144-40710S. Published by Theodore Presser Company (PR.14440710S).

UPC: 680160655908. 9 x 12 inches.

While staying in Arden, West Virginia, Martin found himself thinking of other Forests of Arden, possibly in France, possibly in England, as mentioned in Shakespeare's As You Like It. Pondering earlier times of bucolic delight, as he calls it, Martin has written this series of ten quartets, all featuring horns, the perfect vehicle for his imagined life.