Organ: 2-staff - Moderately Easy

SKU: LO.70-2427L

Composed by Mark Hayes. Arranged by Marvin Gaspard. Sacred, Advent, Christmas. Lorenz Publishing Company #70/2427L. Published by Lorenz Publishing Company (LO.70-2427L).

ISBN 9780787778101.

The distinctive artistry of Mark Hayes continues to be enjoyed by pianists and organists alike. This organ collection draws from Hayes’s piano volume of “Christmas Miniatures”— short pieces of primarily two minutes or less in duration. Marvin Gaspard has re-imagined a selection of the piano originals for organ. Most are based on familiar Christmas carols, while three are freely-composed seasonal works.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â� ��If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Orchestra Bassoon 1, Bassoon 2, Bassoon 3, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Oboe 3, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piano, Timpani, Trombone 1 and more.

SKU: PR.466000470

Composed by Dan Welcher. Spiral. Large Score. With Standard notation. Duration 10 minutes. Theodore Presser Company #466-00047. Published by Theodore Presser Company (PR.466000470).

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

By Henze. (Guitar). Schott. DVD (Digital Video Disk). Size 5.5x7.5 inches. Published by Schott.

Saxophone & Piano

SKU: ST.C422

Composed by Laurie Holloway. Wind & brass music. Clifton Edition #C422. Published by Clifton Edition (ST.C422).

ISBN 9790570814220.

A delightful single movement work lasting about 4 minutes. Dedicated to the clarinettist Erich Fackert.

[bg_colla pse view=link color=#4a4949 icon=arrow expand_text=Show More collapse_text=Show Less ]Laurie Holloway has enjoyed an extraordinary successful life as a composer, musician and musical director. His music has always been strongly jazz orientated, and he has played with many of the legendary greats including Gerry Mulligan, Clark Terry and trombonist Bob Brookmeyer. He composed the television themes for: Russell Harty, Pam Ayres, Freddie Starr, Russ Abbott, Punchlines, Game for a Laugh, Blind Date, Child’s Play and Beadle’s About Music Match.

Laurie has appeared on television regularly including This is your Life (as a surprise guest for Parkinson, Wogan, Tarbuck, Ernie Wise, Rolf Harris, and Benny Green as well as being a proud owner of the Big Red Book himself). He has been musical director for Engelbert Humperdinck, Judy Garland, Dame Edna Everage, Stéphane Grappelli, The Wogan Show, Marion Montgomery, Gilbert O’Sullivan, Dame Cleo Laine, Elaine Stritch, Sacha Distel, Frankie Howerd, Sammy Cahn, George Hamilton IV, Barry Took, Sir David Frost, Mel Torme, Nana Mouskouri, Clive James, Val Doonican, Kiri Te Kanawa, Ronnie Corbett, Ronnie Barker, Sir Les Patterson, Elaine Paige, Michael Parkinson, Jack Allen, Bob Monkhouse, Judy Garland, Liza Minnelli and Jack Jones.

He has been a featured soloist with, and guest conductor of, the LSO and the BBC Concert Orchestra, played on the Last Night of the Proms in Hyde Park, often conducted the BBC radio orchestra, performed on BBC radio 2’s At the Piano, and is currently arranging and conducting for various artists such as Elaine Paige, Dame Kiri Te Kanawa, and Gilbert O’Sullivan. He was the musical director of the hit BBC television series Strictly Come Dancing for many years.

His teaching work includes workshops and masterclasses at Canberra School of Music and Melbourne’s Victoria Arts Centre, Australia, the Birmingham Conservatoire, and Wavendon Allmusic Plan. He has composed and arranged several saxophone quartets, clarinet quartets, instrumental works for flute and piano and clarinet and piano, and his two volumes of Pop Preludes (piano tutors) are published by Novello. The Associated Board of the Royal Schools of Music selected his composition Walking Fingers as an examination piece.

He has presented matinee concerts at the Barbican where he introduced young musical talent. He and Marion Montgomery have formed the Montgomery Holloway Music Trust a charity, which aims to afford young musical talent (jazz, classical and inspirational) the opportunity to study and perform. The Trust also has a yearly seminar in which Laurie instructs in the Art of Accompaniment. The British Academy of Songwriters, Composers and Authors (BASCA) awarded Laurie the Gold Badge of Merit in 1993 for his services to the music industry.[/bg_collapse]Former Spartan Press Cat. No.: SP870.