High Voice and Piano

SKU: HL.14021568

Composed by Geoffrey Bush. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV170338. Published by Music Sales (HL.14021568).

ISBN 9780853608134.

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

SKU: PR.14440757S

Composed by Ellen Taaffe Zwilich. Full score. 64 pages. Duration 24 minutes. Merion Music #144-40757S. Published by Merion Music (PR.14440757S).

ISBN 9781491136539. UPC: 680160689347.

Ellen Taaffe Zwilich’s Septet is the first major work written for this combination of instruments, and the pioneering process was greatly enjoyed by the composer: “While the instrumentation of the Septet provides an almost orchestral palette, and it was interesting to explore that, I love the idea of seven artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results from those shifting roles.” Septet was written for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet, to whom it is dedicated. String parts available on rental. For advanced ensembles. Duration: 24’.
Writing music is a labor of love for me.  My greatest joy is writing for performers whom I can be sure will not only deliver the notes accurately, but will project the meaning behind the notes.  To have performers in the wings who will bring their own imagination and deep understanding to a performance is an inspiration to me.  So I approached the writing of my Septet for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet with great anticipation and pleasure.The fact that there is no model for such a Septet made the pre-composition process a most enjoyable exploration.  I liked the idea of having two strong ensemble personalities in the mix, and I thought that there must be some sort of challenging interchange at the outset.  The first movement, “Introductions,â� � (note the plural) starts with the piano trio throwing down the gauntlet and the string quartet entering quietly, but gradually (almost one by one) joining with the trio to make a true septet with multi-faceted relations.  The second movement, “Quasi una Passacaglia,” is based on a repeated phrase pattern.  Part of the formal design is a contrast between “Baroque” style performance and modern, more romantic ways of playing.  “Games,” the third movement, involves much playful interplay and the fourth movement, “Au revoir,” offers both reminiscence and farewell – not “good-bye,” but “until we meet again.”Throughout the piece, two of my persistent fascinations are explored: firstly, my interest in designing initial material that can evolve into large-scale form, and secondly, the pleasure I take in chamber music.  While the instrumentation of the Septet provides an almost orchestral palette and it was interesting to explore that, I love the idea of 7 artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results form those shifting roles.

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

SKU: PR.144407570

Composed by Ellen Taaffe Zwilich. Set of Score and Parts. 64+12+12+12+12+12+12 pages. Duration 24 minutes. Merion Music #144-40757. Published by Merion Music (PR.144407570).

ISBN 9781491136522. UPC: 680160689330.

Ellen Taaffe Zwilich’s Septet is the first major work written for this combination of instruments, and the pioneering process was greatly enjoyed by the composer: “While the instrumentation of the Septet provides an almost orchestral palette, and it was interesting to explore that, I love the idea of seven artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results from those shifting roles.” Septet was written for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet, to whom it is dedicated. String parts available on rental. For advanced ensembles. Duration: 24’.
Writing music is a labor of love for me.  My greatest joy is writing for performers whom I can be sure will not only deliver the notes accurately, but will project the meaning behind the notes.  To have performers in the wings who will bring their own imagination and deep understanding to a performance is an inspiration to me.  So I approached the writing of my Septet for the Kalichstein-Laredo-Robins on Trio and the Miami String Quartet with great anticipation and pleasure.The fact that there is no model for such a Septet made the pre-composition process a most enjoyable exploration.  I liked the idea of having two strong ensemble personalities in the mix, and I thought that there must be some sort of challenging interchange at the outset.  The first movement, “Introductions,â� � (note the plural) starts with the piano trio throwing down the gauntlet and the string quartet entering quietly, but gradually (almost one by one) joining with the trio to make a true septet with multi-faceted relations.  The second movement, “Quasi una Passacaglia,” is based on a repeated phrase pattern.  Part of the formal design is a contrast between “Baroque” style performance and modern, more romantic ways of playing.  “Games,” the third movement, involves much playful interplay and the fourth movement, “Au revoir,” offers both reminiscence and farewell – not “good-bye,” but “until we meet again.”Throughout the piece, two of my persistent fascinations are explored: firstly, my interest in designing initial material that can evolve into large-scale form, and secondly, the pleasure I take in chamber music.  While the instrumentation of the Septet provides an almost orchestral palette and it was interesting to explore that, I love the idea of 7 artist-performers, each of whom can be a stunning virtuoso one moment and a thoughtful partner the next, and I relish the electricity that results form those shifting roles.

SKU: HL.14019442

Composed by Bent Lorentzen. Music Sales America. Classical. Vocal Score. Composed 2002. Edition Wilhelm Hansen #WH28905. Published by Edition Wilhelm Hansen (HL.14019442).

Brass Band - Grade 4

SKU: BT.DHP-1165658-030

Composed by Stephen Bulla. Concert and Contest Collection Brass Band en Fanfare. Concert Piece. Set (Score & Parts). Composed 2016. De Haske Publications #DHP 1165658-030. Published by De Haske Publications (BT.DHP-1165658-030).

English-German-French- Dutch.

Dedicated to the North American Brass Band Association, this is music that is full of energy and dynamic extremes. In form it draws from the overture style, although the themes are self-existing and the piece is programmatic. Working well asa festival opener, it sets a mood of excitement. Following the rhythmic fanfares of the opening, the first theme is presented in the cornets followed by a return to the same rhythmic material. A second theme appears in the horn section and isdeveloped, changing into a darker and sinister form of the same motif. Eventually a Maestoso section is reached, full of sustained block chords in the cornets and trombones, as the rest of the band counters with cascading lines that weavestraight through the brighter instruments.

Dit levendige werk vol dynamische uitersten is opgedragen aan de North American Brass Band Association. Qua vorm is het geënt op de ouverturestijl, hoewel de thema’s op zichzelf staan en het een programmatische compositie betreft. Het is heelgeschikt voor de opening van een festival, want het creëert een enthousiaste, verwachtingsvolle stemming. Na de ritmische fanfares van de opening wordt het eerste thema gepresenteerd in de cornetten, gevolgd door een terugkeer naar hetzelfderitmische materiaal. Er verschijnt een tweede thema in de hoornsectie, dat wordt doorontwikkeld en overgaat in een duistere en onheilspellende vorm van hetzelfde motief. Uiteindelijk komt er een maestoso gedeelte tot stand, vol aangehouden akkoordenin de kornetten en trombones, waarbij de rest van het orkest dalende lijnen produceert die door de helder klinkende instrumenten heen zijn geweven.

Dieses Musikstück, das voller Energie und von extremer Dynamik geprägt ist, wurde der North American Brass Band Association gewidmet. Der formale Aufbau des Werkes orientiert sich an einer Ouvertüre, auch wenn die Themen für sich selbst stehenund das Stück programmatisch ist. Es eignet sich gut als Eröffnungsstück für ein Festival, da es das Publikum begeistern wird. Auf den Fanfarenrhythmus der Einleitung folgt das erste Thema, das von den Kornetten vorgestellt wird und schließlich zumursprünglichen rhythmischen Material zurückkehrt. Das zweite Thema wird von den Hörnern gespielt und weiterentwickelt, wobei das gleiche Motiv in eine dunklere und unheimlichere Stimmung wechselt. Danach erklingt ein Maestoso-Teil mit Akkordblöckenin den Kornetten und Posaunen, während das restliche Orchester kaskadenartige Melodielinien spielt, die sich durch die helleren Instrumente schlängeln.

Dà ©diée la North American Brass Band Association, cette Å“uvre est pleine d’énergie et de dynamiques extrêmes. En dépit de sa forme d’ouverture, les thèmes ne sont pas liés et l’œuvre est programme. Convient comme pièce d’ouverture defestival et crée une ambiance d’enthousiasme. Suite aux fanfares rythmiques du début, le premier thème est présenté par les cornets piston, suivi par un retour au même matériel rythmique. Un deuxième thème apparaît dans le registre des cors et estdéveloppé, se changeant en une version plus sombre et sinistre du même motif. Finalement on arrive une section de Maestoso, qui contient de nombreuses double-cordes soutenues chez les cornets et trombones, tandis que le reste de l’ensemblerépon d par des lignes descendantes qui se tissent travers les instruments plus aigus.

(GEB)

SKU: HL.49020849

Horizons and Limitations. Composed by Paul Hindemith. This edition: Hardback/Hard Cover. Book. Edition Schott. Das Buch mochte ein Fuhrer sein durch das kleine Universum der Werkstatt eines Musikschaffenden. Als solcher spricht es vornehmlich zum Laien - was nicht heisst, dass erfahrene Komponisten ohne Anregungen gelassen wurden ... (P. Hindemith). 266 pages. Schott Music #ATL 6191. Published by Schott Music (HL.49020849).

ISBN 9783254001917. 5.75x8.75x0.932 inches. German.

Being the result of lectures held by the author in America, this book keeps the promise made in the title: to show the composer in his world, portray him in his workshop and describe the disputes he has to overcome with himself, with the idea, the 'material', the fashion, the audience. Hindemith examines the conditions under which it is possible for an artist to do creative work.A new music theory is emerging, developing out of elementary components in a generally comprehensible and clear way while discussing in particular the technical side of composing. In this juxtaposition of creative artist and environment, the severe and critical statements on prevailing conditions result from the high sense of responsibility which, in Hindemith's opinion, has to define the path of the musician.

Voice and piano (Solo: S - 3(picc/A-fl).2.cor ang.2.B-clar.2.dble bsn - 4.3.3.1 - timp.perc(3) - hp - pno - cel - str: 12.10.8.6.4)

SKU: BR.EB-9465

The Fury of Our Concepts. Composed by Johannes Maria Staud. Voice; stapled. Edition Breitkopf. New music (post-2000). Sheet Music. Composed 2021/22. 48 pages. Duration 19'. Breitkopf and Haertel #EB 9465. Published by Breitkopf and Haertel (BR.EB-9465).

ISBN 9790004189436. 9 x 12 inches. English.

Wahrend der vielen Corona-bedingten Lockdowns seit Fruhjahr 2020 habe ich mich, warum auch immer, tief in die vielgestaltige wie aufregende amerikanische Lyrik des 20. und 21. Jahrhunderts verloren - auch, aber nicht nur auf der Suche nach spannenden, vertonbaren Texten.Bei William Carlos Williams (1883-1963) schliesslich, der trotz seiner eminenten Bedeutung gar nicht so viel vertont wurde, hat mein Suchradar schliesslich angeschlagen.Fernab der protzerischen Bildungsburgerei eines T.S. Eliot, Lichtjahre entfernt von der gefahrlichen Faschismus-Nahe eines Ezra Pound, gehort WCW, wie er gerne liebevoll genannt wird, mit Elizabeth Bishop und Robert Lowell wohl zu den Fixsternen der amerikanischen Moderne. Diese feine, reduzierte, vermeintlich unscheinbar-verspielte, auf den zweiten Blick aber so subversive und messerscharf-bedeutungsre iche Lyrik hat mich seitdem vollends in ihren Bann gezogen.Auf Gedichten aus drei Banden basierend, ,,Sour Grapes(1921), ,,An Early Martyr and Other Poems (1935) und ,,The Wedge (1944), habe ich schliesslich einen sechs Orchesterlieder umfassenden Zyklus komponiert. Mit diesem wollte ich WCWs Gedichte nicht etwa verdoppeln oder nachzeichnen, sondern ganz bewusst meine personliche Sicht auf diese fragilen Meisterwerke werfen. Dieses Auftragswerk der Wiener Symphoniker und des Wiener Konzerthauses wurde vom fein modellierten Klang und Facettenreichtum dieses wunderbaren Orchesters inspiriert. Es ist meinen Eltern gewidmet. (Johannes Maria Staud, 3.2.2022)

World premiere of the piano version: Bad Kissingen (Kissinger Sommer), July 3, 2022 Commissioned by Kissinger Sommer funded by the Anton and Katharina Schick Foundation.

Orchestra

SKU: FG.042-05309-6

Composed by Aarre Merikanto. Score. Published by Fennica Gehrman (FG.042-05309-6).

ISBN 979-0-042-05309-6.

SKU: GI.G-10956

Sacred. 454 pages. GIA Publications #10956. Published by GIA Publications (GI.G-10956).

ISBN 9781622777624. English, Spanish. Text Source: The Roman Missal, ,Lec tionary for Mass, ,Lecci onario Edición Hispanoamericana,&nb sp,The Abbey Psalms and Canticles

By Florentine Mulsant. For flute. Work premeried: in 1987 at Espace Kiron in Paris. Level: advanced. Full score. Composed 1987. Duration 4'. Published by Furore-Verlag (German import). (fue 2980)

(BR)

SKU: HL.49041925

Tatsachen - Meinungen - Interviews. Composed by Wolf-Eberhard von Lewinski. This edition: Paperback/Soft Cover. Paperback. Serie Musik. 180 pages. Schott Music #SP 8266. Published by Schott Music (HL.49041925).

ISBN 9783795782665. German.

Dietrich Fischer-Dieskau kann man ohne Einschrankung zu den herausragenden Sangern in der Nachkriegsgeschichte zahlen. Er verdankt diese Einschatzung jedoch nicht allein seiner unverwechselbaren Bariton-Stimme, die den Kunstler so charakteristisch hervorhebt: er fasziniert durch die Art des Vortrags, durch die Intensitat, mit der er gleichermassen Opernpartien wie auch geistliche Werke und Lieder gestaltet und damit vom Zuhorer stehts das Ausserste an Konzentration fordert. Fischer-Dieskau kennt keine Beschrankung des Repertoires; ihm ist bis hin zur zeitgenossischen Musik, die er oft genug mit aus der Taufe heben half, nichts unerschlossen geblieben.Auf der Grundlage von Interviews schildert dieses Buch den kunstlerischen Werdegang des Sangers, vermittelt Einsichten in die Ernsthaftigkeit seines interpretatorischen Ansatzes und in Fragen des Spiel- bzw. Konzertbetriebes und behandelt Fragen des Repertoires. Ein tabellarischer Lebenslauf, zahlreiche Abbildungen und diskographische Hinweise schaffen ein lebendiges Bild des Kunstlers und Menschen Dietrich Fischer-Dieskau.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Piano

SKU: HL.14001424

From Piezas Caracteristicas for Piano. Composed by Isaac Albeniz. Music Sales America. Classical. Book [Softcover]. Music Sales #UMP62840. Published by Music Sales (HL.14001424).

Clarinet, Violin, Cello and Piano

SKU: HL.14027831

Composed by Niels Rosing-schow. Music Sales America. 20th Century. Score. Composed 2002. Edition Wilhelm Hansen #WH30176. Published by Edition Wilhelm Hansen (HL.14027831).

ISBN 9788759806241.

Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the 'inner voices' of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the 'inner voices' of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say 'turned inside out'.

Chamber Group, Clarinet, Violin, Cello, Piano Chamber

SKU: HL.14027832

Music Sales America. Classical. Set of Parts. Music Sales #KP00348. Published by Music Sales (HL.14027832).

ISBN 9788759867167.

Work for Clarinet, Violin, Cello and Piano. The composer writes: VOIX INTERIEURES (1990-92). The title has a double reference: to the 'inner voices' of the mind, expressing our (hardly conscious) impulses, feelings, dreams and to the 'inner voices' of the music in the sense of internal parts and relations. Thus the title points to the obscure reflections of the ones in the others. During the piece, there is a gradual transformation of the internal parts, such as interval patterns, sonorities and dynamics - running alongside the easily perceptible expansion of register. The music is so to say 'turned inside out'.

Choral Keyboard, Three-part mixed choir Voices

SKU: CF.CM8643

Composed by David Perry Jean Perry. Choral. Part. With Standard notation. Carl Fischer Music #CM8643. Published by Carl Fischer Music (CF.CM8643).

ISBN 9780825842672. UPC: 798408042677. 6.875 X 10.5 inches. Key: F major.

The spirit of freedom and unity of purpose that characterizes this country at its best infuses this patriotic piece by Dave and Jean Perry with a wonderful fervor. As with all pieces by this duo, Song of Amercia features tunefulness and careful consideration for the capabilities of young singers. The climax incorporates America the Beautiful in counterpoint with the original material in a particularly effective way.

Arranged by Joel Raney. For Piano/Organ. Duet. Piano - Organ Duets - Raney. Patriotic, Sacred. Piano and Organ Score. 24 pages. Published by Hope Publishing Company

Voice & Piano

SKU: SU.21000004

For Voice & Piano. Composed by Samuel Ward. Vocal/Choral, Solo Voice. Accompanied by piano. Piano Vocal Score. Calabrese Brothers Music, LLC #21000004. Published by Calabrese Brothers Music, LLC (SU.21000004).

Voice Range D4 to G5This a contemporary arrangement by Helmut C. Calabrese using the original melody of Samuel A. Ward and the words of Katerine Lee BatesVoice & Piano Duration: 4' Composed: 2001 Published by: Calabrese Brothers Music Performance materials for version with orchestraavailable on rental only:.

SKU: HL.14042576

Music Sales America. Softcover. Hal Leonard #NOV29388701. Published by Hal Leonard (HL.14042576).

Piano (Piano)

SKU: HL.14030070

Composed by Jean Sibelius. Music Sales America. Classical. Book [Softcover]. Composed 2002. 10 pages. Edition Wilhelm Hansen #WH18394. Published by Edition Wilhelm Hansen (HL.14030070).

ISBN 9788759858752. 8.25x11.75x0.064 inches. English.

Version for Solo Piano.

SKU: HL.14077136

Music Sales America. General Merchandise. Duration 240 seconds. Published by Hal Leonard (HL.14077136).

Violin (Study Score)

SKU: HL.14006547

Series 2 Book 3. Music Sales America. Tuition. Book [Softcover]. Composed 2002. Chester Music #CH61566. Published by Chester Music (HL.14006547).

By Enrique Granados (1867-1916). For Piano. Music Sales America. Romantic. 80 pages. Hal Leonard #UMP24334. Published by Hal Leonard . Romantic.

SATB Choir and Organ

SKU: HL.14012391

Composed by Galmili. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV950306. Published by Music Sales (HL.14012391).

Piano

SKU: HL.14029178

Composed by Ludwig Schytte. Music Sales America. Classical. Book [Softcover]. Composed 2006. 16 pages. Edition Wilhelm Hansen #WH11964. Published by Edition Wilhelm Hansen (HL.14029178).

ISBN 9788774556930. Danish.

Edited by Barry Rose. For SA, Piano, Organ (2PT TREBLE). Music Sales America. Sacred, Choral. 128 pages