Jazz Ensemble Jazz Band - Grade 5

SKU: FJ.HX9023

Composed by Michael Brecker. Arranged by Jamie Roth. Jazz Ensemble; Performance Music Ensemble; Single Titles. HXmusic. Jazz; Jazz/Fusion; Rock. Score and Part(s). The FJH Music Company Inc #98-HX9023. Published by The FJH Music Company Inc (FJ.HX9023).

English.

What an absolute treat! Play Michael Brecker's quintessential fusion tune Spherical, expertly arranged especially for Randy Brecker's big band. Every nuance of the original track is captured with precise detail and clear notation. This chart pays fond tribute to an American master with passion and a smart, hard edge. All sax parts include optional flute doubles. Top trumpet note: D6.

Jazz Ensemble Jazz Band - Grade 5

SKU: FJ.HX9023S

Score Only. Composed by Michael Brecker. Arranged by Jamie Roth. Jazz Ensemble; Performance Music Ensemble; Single Titles. HXmusic. Jazz; Jazz/Fusion; Rock. Score. The FJH Music Company Inc #98-HX9023S. Published by The FJH Music Company Inc (FJ.HX9023S).

English.

What an absolute treat! Play Michael Brecker's quintessential fusion tune Spherical, expertly arranged especially for Randy Brecker's big band. Every nuance of the original track is captured with precise detail and clear notation. This chart pays fond tribute to an American master with passion and a smart, hard edge. All sax parts include optional flute doubles. Top trumpet note: D6.

Piano Trio

SKU: BR.EB-9258

Piano Trio. Composed by Manuela Kerer. Chamber music; stapled. Edition Breitkopf. New music (post-2000); Music post-1945. Score. Composed 2016/17. 36 pages. Duration 9'. Breitkopf and Haertel #EB 9258. Published by Breitkopf and Haertel (BR.EB-9258).

ISBN 9790004185582. 9 x 12 inches.

Spherical: What a wonderful word. Spherical, magical, shimmering, kaleidoscopic, spectral. These were my associations. Only when researching this piece did I notice that sphere derives from the Greek hull or ball. It was used in antiquity to designate the firmament, imagined as a hollow sphere. Pythagoras assumed that the movements of the spheres or heavenly bodies created tones with pitches depending on their distances and velocities. Then I came across a text by Stefan Zweig, which, besides the idea of the firmament in constant motion, is perfectly consistent with Canto sferico (song of the spheres). Art knows no more beautiful moment than when it may show the excessive in its symmetry, in those spherically sounding seconds, when at the blink of an eye dissonance dissolves into primal blissful harmony: the more ghastly the rupture, so much the more powerful this collapse, so much the more effervescent the consonance of the plunging streams. (Manuela Kerer, 2017).

By Finney. For SATB a cappella. (Eng). Sacred Choral Works. Duration 15'. Published by C.F. Peters.

Horn and piano

SKU: BR.MN-9720

Little Suite in 3 Sets. Composed by Boris Mersson. Solo instruments; Softcover. Musikverlag Nepomuk. Music post-1945. Score. Composed 1994. 28 pages. Duration 10'. Breitkopf and Haertel #MN 9720. Published by Breitkopf and Haertel (BR.MN-9720).

ISBN 9790004791028. 9 x 12 inches.

The Molnaresca was initiated by the horn player Jozsef Molnar to whom it is also dedicated. The three movements: 1. Parade - impulsive-burlesque, 2. Idyll - calm-spherical, 3. Cupidon - sensual-mysterious.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024888

Cello and Piano. Composed by Bertold Hummel. Boosey & Hawkes Chamber Music. Classical. Softcover. 20 pages. Duration 360 seconds. Simrock #M221122575. Published by Simrock (HL.48024888).

UPC: 840126919769.

As a lesson and lecture piece, Bertold Hummel's Sonatine op. 35, created in 1969, accompanied many young musicians on their way. Sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. Warmth and sparkling rhythm characterize the three movements: inthe powerful maestoso, the sonority of the main theme is contrasted with a lyrical side theme; the recapitulation ends with an impulsive fugato. The second movement Elegie consists of a single soulful melody about spherical harmonies of the piano. As the highlight in the Finale vivace, playful lightness, marching rhythms and dramatic increases replace each other in quick succession; wild arpeggios lead to the end. Originally composed for violin, versions for viola and cello were already familiar. For the 50th birthday, Simrock / Boosey & Hawkespresents the work in a revised, revised edition. A repertoire enrichment for beginning instrumentalists are the first available versions for alto and tenor saxophone, which the composer made himself in the 1990s.

Piano Accompaniment; Viola (Viola With Piano Accompaniment)

SKU: HL.48024887

Viola and Piano. Composed by Bertold Hummel. Boosey & Hawkes Chamber Music. Classical. Softcover. 20 pages. Duration 360 seconds. Simrock #M221122568. Published by Simrock (HL.48024887).

UPC: 840126919752.

As a teaching and lecture piece, Bertold Hummel's Sonatine op. 35, created in 1969, accompanied many young musicians on their way. Sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. Warmth and sparkling rhythm characterize the three movements: inthe powerful maestoso, the sonority of the main theme is contrasted with a lyrical side theme; the recapitulation ends with an impulsive fugato. The second movement Elegie consists of a single soulful melody about spherical harmonies of the piano. As the highlight in the Finale vivace, playful lightness, marching rhythms and dramatic increases replace each other in quick succession; wild arpeggios lead to the end. Originally composed for violin, versions for viola and cello were already familiar. For the 50th birthday, Simrock / Boosey & Hawkespresents the work in a revised, revised edition. A repertoire enrichment for beginning instrumentalists are the versions for alto and tenor saxophone available for the first time, which the composer himself produced in the 1990s.

Choral (SATB a cappella)

SKU: HL.49044324

SATB a cappella. Composed by Matthew Brown. This edition: Saddle stitching. Sheet music. Choral. Classical, Contemporary. Octavo. Composed 2008. 10 pages. Duration 5'. Schott Music #C 56391. Published by Schott Music (HL.49044324).

ISBN 9790001199667. UPC: 841886024380. Latin.

The text of Hildegard von Bingen is interpreted with spherical and archaic sounds. Frictions form and dissolve, harmonies come and go. The piece is particularly suitable for chamber choir, demanding a trained ear of the singers.

Choral (SATB a cappella) - intermediate to advanced

SKU: HL.49044697

Composed by Matthew Brown. This edition: Saddle stitching. Sheet music. Choral. Classical, Contemporary, Native American. Softcover. 28 pages. Duration 6' 15''. Schott Music #ED 22001. Published by Schott Music (HL.49044697).

ISBN 9790001201919. UPC: 841886023949. 7.5x10.75x0.113 inches. English.

Matthew Brown has set texts from the Dream Songs of the Native American Wintu tribe to music. The typically American style of composition is characterized by spherical sounds.

Orchestra (Study Score)

SKU: HL.48024683

Orchestra Study Score. Composed by Magnus Lindberg. Boosey & Hawkes Scores/Books. Classical. Softcover. 144 pages. Boosey & Hawkes #M060135880. Published by Boosey & Hawkes (HL.48024683).

ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.

TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.

The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Concert Band - Grade 4

SKU: AP.41961S

Composed by Scott Watson. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Alfred Concert Band. Meters. Score. 28 pages. Alfred Music #00-41961S. Published by Alfred Music (AP.41961S).

UPC: 038081471273. English.

This composition opens atmospherically in tranquil beauty---like a serene lake, a calm sea, or an eerie underwater scene. After a brief, meditative transition scored for four solo instruments, the piece bursts into a spirited 6/8 theme that suggests both water creatures and craft moving playfully through the waves. This title is available in MakeMusic Cloud.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

(Reduction for 2 Pianos, 4 Hands). Composed by Robert Schumann. Arranged by Ernst Herttrich. For Piano, Piano Duet. Henle Music Folios. Softcover. G. Henle #HN1139. Published by G. Henle