4 Part Variable Wind Ensemble with Percussion - intermediate

SKU: BT.DHP-1216326-070

Arranged by Wil van der Beek. Music Box. Folk Music. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216326-070. Published by De Haske Publications (BT.DHP-1216326-070).

ISBN 9789043162067. English-German-French-Dut ch.

1. Emerald Isle, in this part, the musical spotlight focuses in on the green island of Ireland and its great wealth of traditional folk music. The piece opens with the air ‘My Lodging Is on the Cold Ground’, also known under the title ‘Believe Me, If All Those Endearing Young Charms’ (bars 5-24). Next, we hear another well-known air ‘The Minstrel Boy’ (bars 29-44). Finally, the air ‘The Groves of Blarney’, possibly better known as ‘The Last Rose of Summer’ (bars 53-68) is heard. Each air is heralded by a short introduction and brought to an end by a short conclusion. 2. Old Kentucky Memories, following an introduction of 14 bars all attention is claimed by the song ‘My Old Kentucky Home’. As the piece goes on, snippets of memories emerge, fleetingly, surfacing fast, but quickly disappearing again: this is musically featured by way of small motifs and themes from other songs. These can be heard briefly, and then they disappear, musing on Old Kentucky until the introduction returns to end the piece. 3. Uppland, is a province in Sweden that had a rich folk music culture, like the whole of Sweden, that boasts many songs and dances. A notable amount of these songs and dances have been composed in minor keys, three of which feature in this part. First, we hear ‘Svensk folkvisa’(bars 1-38), followed by the famous ‘Värmlandsvisan� �€™ (bars 39-67) and then brought to an end by ‘Vexelsang’ (bars 68-end). 4. Ratatouille, in this part, no folk songs of just one country or one province are featured. This piece is a mishmash (or ratatouille), a hotchpotch of three folk songs with no significant relation at all. In succession, we hear a song from Russia (bars 1-30), one from Japan (bars 31-58) and one from Australia (bars 59-end). The composer of the Russian song titled ‘The Nightingale’ is Alexander Alyabyev (1787 1851), but the composers of the Japanese song titled ‘Sakura’ and the Australian ‘Waltzing Matilda’ are unknown.

1. Emerald Isle, in dit deel zijn de muzikale schijnwerpers gericht op het groene eiland Ierland, op de grote rijkdom aan traditionele volksmuziek. Het werkje opent met de air ‘My Lodging Is on the Cold Ground’, ook bekend onder de titel ‘Believe Me, If All Those Endearing Young Charms’ (maat 5-24). Daarna volgt de bekende air ‘The Minstrel Boy’ (maat 29-44). En ten slotte horen we nog de air ‘The Groves of Blarney’, misschien beter bekend als ‘The Last Rose of Summer’ (maat 53-68). Elke air wordt voorafgegaan door een korte inleiding en beëindigd met een korte afsluiting. 2. Old Kentucky Memories, na een inleiding van 14 maten (deels ook als afsluiting van dit deel gebruikt) wordt alle aandacht opgeëist door de song ‘My Old Kentucky Home’. Al gauw doemen er echter flarden van herinneringen op, vluchtig, snel opkomend, maar ook weer snel verdwijnend: dit krijgt muzikaal gestalte door middel van motiefjes en thema’s uit andere songs. Deze zijn even hoorbaar en dan weer vlug verdwenen... Mijmeren over Old Kentucky dus... 3. Uppland, is een provincie in Zweden met een rijke muziekcultuur, zoals heel Zweden trouwens ruim bedeeld is met volksliederen en volksdansen. Opvallend veel van deze liederen en dansen zijn gecomponeerd in mineurtoonsoorten. Dit is ook het geval met de drie voor dit deel uitgekozen songs: als eerste ‘Svensk folkvisa’(maat 1-38), gevolgd door het bekende ‘Värmlandsvisan� �€™ (maat 39-67) en tot besluit ‘Vexelsang’ (maat 68-slot). 4. Ratatouille, in dit deel worden geen volksliedjes van één land of één provincie belicht. Dit werkje is een ‘ratjetoe’ (ratatouille), een allegaartje van drie folksongs die onderling geen enkel verband met elkaar hebben: de enige overeenkomst is dat ze alle drie als volksmuziek bestempeld kunnen worden. Achtereenvolgens klinkt er een lied uit Rusland (maat 1-30), uit Japan (maat 31-58) en uit Australië (maat 59-slot). Van het Russische lied met de titel ‘De nachtegaal’ is de componist bekend: dat is Aleksandr Aljabjev (1787 1851). Van het Japanse lied ‘Sakura’ en de Australische song ‘Waltzing Matilda’ kennen we niet de componist niet.

1. Emerald Isle, in diesem Abschnitt richtet sich die musikalische Aufmerksamkeit auf die grüne Insel Irland mit ihrem großen Reichtum an traditioneller Volksmusik. Das Stück beginnt mit der Melodie My Lodging Is on the Cold Ground“, auch bekannt unter dem Titel Believe Me, If All Those Endearing Young Charms“ (Takt 5-24). Anschließend erklingt die bekannte Melodie The Minstrel Boy“ (Takt 29-44). Schließlich ist The Groves of Blarney“, vielleicht bekannter unter dem Titel The Last Rose of Summer“ (Takt 53-68), zu hören. Jede Melodie wird durch eine kurze Einleitung angekündigt und mit einem kurzen Nachspiel beendet. 2. Old Kentucky Memories, nach einer 14 Takte dauerndern Einleitung tritt das Lied My Old Kentucky Home“ in den Mittelpunkt. Im weiteren Verlauf des Stücks erscheinen bruchstückhafte Erinnerungen, die fast so schnell wieder verschwinden, wie sie auftauchen. Dies wird musikalisch durch kleine Motive und Themen aus anderen Liedern dargestellt. Diese sind kurz zu hören und verschwinden dann, während man über Old Kentucky nachdenkt, bis die Einleitung wieder erklingt, die zum Schluss des Stückes führt. 3. Uppland, ist eine schwedische Provinz, die wie ganz Schweden eine reiche Volksmusikkultur mit vielen Liedern und Tänzen hat. Eine große Anzahl der Lieder und Tänze, von denen drei in diesem Abschnitt enthalten sind, stehen in Moll-Tonarten. Zuerst hören wir Svensk folkvisa“ (Takt 1-38), darauf erklingt das berühmte Värmlandsvisan“ (Takt 39-67) und am Ende Vexelsang“ (Takt 68-end). 4. Ratatouille, in diesem Abschnitt werden nicht die Volkslieder eines einzigen Landes oder einer einzigen Provinz vorgestellt, sondern das Stück ist ein Mischung (oder Ratatouille“) aus drei Volksliedern, die keinerlei Beziehung zueinander haben. Zunächst erklingt ein Lied aus Russland (Takt 1-30), dann eines aus Japan (Takt 31-58) und zum Schluss eines aus Australien (Takt 59-Ende). Der Komponist des russischen Liedes mit dem Titel The Nightingale“ ist Alexander Alyabyev (1787 1851). Die Komponisten des japanischen Liedes Sakura“ und der australischen Melodie Waltzing Matilda“ sind unbekannt.

1. Emerald Isle (Île d’émeraude), cette première partie met en vedette la verdoyante île d’Irlande et son riche patrimoine de musique folklorique traditionnelle. Elle s’ouvre avec « My Lodging Is on the Cold Ground », un air également connu sous le titre « Believe Me, If All Those Endearing Young Charms » (mesures 5-24). Vient ensuite un autre air célèbre, « The Minstrel Boy » (mesures 29-44), lui-même suivi de « The Groves of Blarney », peut être mieux connu sous le titre « The Last Rose of Summer » (mesures 53-68). Chaque air est annoncé par une courte introduction et s’achève avec une courte conclusion. 2. Old Kentucky Memories (Souvenirs du vieux Kentucky), après une introduction de 14 mesures, toute l’attention se porte sur la chanson « My Old Kentucky Home ». A fil de la pièce, des fragments de souvenirs fugaces émergent, disparaissant aussi vite qu’ils se présentent : cette impression est créée par le biais de courts motifs et thèmes empruntés d’autres chansons. On les entend brièvement puis ils s’estompent, comme de lointains souvenirs du vieux Kentucky, jusqu’ une reprise de l’introduction pour conclure la pièce. 3. Uppland, est une province suédoise aux riches traditions musicales, tout comme l’ensemble de la Suède, qui compte de nombreuses danses et chansons. Beaucoup sont en tonalité mineure, et cette partie en comprend trois. La première est « Svensk folkvisa » (mesures 1-38), qui est suivie de « ‘Värmlandsvisan » (mesures 39-67), et la pièce s’achève avec « Vexelsang » (mesure 68 jusqu’ la fin). 4. Ratatouille, cette dernière partie ne comprend pas d’air provenant d’un seul pays. C’est un méli-mélo, une « ratatouille » de trois chansons folkloriques sans aucun lien. Il y a d’abord une chanson russe, « Le Rossignol » (mesures 1-30), puis « Sakura », originaire du Japon (mesures 31-58) et, enfin, « Waltzing Matilda », venue d’Australie (mesure 59 jusqu’ la fin). La chanson russe est d’Alexander Alyabyev (1787-1851), mais nous ignorons les auteurs des deux autres chansons.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
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Flute SKU: HL.49047379 42 Imaginative Studies Exploring the Extended Technique and Unusual Sounds. Composed by Gergely Ittzé and s. Woodwind Method. Classical, Instruction, Technique. Softcover. Schott Music #ED23693. Published by Schott Music (HL.49047379).

Violin, Guitar

SKU: UT.CH-335

Composed by Nicolo Paganini. Edited by Italo Vescovo. Saddle stitching. Classical. Score and Parts. Ut Orpheus #CH 335. Published by Ut Orpheus (UT.CH-335).

ISBN 9790215326538. 9 x 12 inches.

The Trois airs variés for violin and piano belong to the small nucleus of compositions for this scoring which, in the Catalogo tematico, also includes the Cantabile in D major (M.S.109), the only original manuscript piece for violin and piano recently published in a critical edition, and the Quattro Notturni a quartetto (M.S.15). This ‘triptych’, whose authorship is unknown, is familiar thanks to the nineteenth-century editions Ricordi, Pacini and Hofmeister, the only evidence of the piece which is placed in the Catalogo tematico at n. 3 of the uncertain works (Section V, pp. 346-347), that is, those works whose authorship remains in doubt due to the lack of objectively valid documents. This placing does not categorically exclude the originality of the piece, at least as regards the violin part, and that Gustavo Carulli ‘completed’ them later by adding the piano part. Given that to date there is no evidence to deny Paganini’s authorship of the piece, we rely on the editorial tradition documented by the three publications mentioned above and, of course, on the style of the composition.
Regarding the instrumental aspect, the technical peculiarity is given by the exclusive use of the 4th string which must be transposed one tone above, in all three airs, including the variations. Concerning the piano part composed by Gustavo Carulli, it can only be said that it is simple and functional, aimed at highlighting the violin part, nothing more. Since the piano part is not original, the guitar has been thought of as the ideal instrument (as indeed is proved by Paganini’s considerable musical production for this scoring) to support the violin part and which is better suited to these small but pleasant pieces. In the transposition for guitar, however, the aim has been to include Gustavo Carulli’s musical lesson, where it is convincing, in other cases, however, the preference has been to find different solutions, while trying to remain within Paganini’s ‘style’ also as regards writing for the guitar. The present edition therefore seeks to be a plausible alternative to the previous editions, also in order to make these delightful but forgotten pieces more usable.

A Method for the Recorder Based on Israel Folk Melodies. By Tzipora H. Jochsberger. Transcontinental Music Folios. Size 9x12 inches. 66 pages. Published by Transcontinental Music Publications.

Edited by Iain Quinn. Saddle stitching. Classical. Ut Orpheus #HS 299. Published by Ut Orpheus

(Complete Piano Sonatas, Volume 1). By Alexandr Skrjabin. Edited by Christoph Flamm. For piano. This edition: Urtext edition. Performance score, Anthology (paperbound). Text language: German, English. 123 pages. Published by Baerenreiter Verlag

For Bagpipes. Traditional. Level: Intermediate. Sheet Music. 210 pages. Published by Paterson Ltd.

Heures mystiques: Entrees, Offertoires, Offertoire funebre. By Leon Boellmann. Edited by Schauerte-Maubouet, Helga. For Organ. Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import).

By Traditional. Arranged by Christensen. For 4 flutes. Flute Quartet. Christmas. Published by Kendor Music Inc.
Level: Grade 3+.

2 violins, viola, cello (Violins (2), Viola, Violoncello)

SKU: BA.BA09378

Composed by Manfred Trojahn. Stapled. Score. Composed 2009. 43 pages. Duration 21 minutes. Baerenreiter Verlag #BA09378_00. Published by Baerenreiter Verlag (BA.BA09378).

ISBN 9790006539086. 32.5 x 25.5 cm inches.

A modern sequel to the music of the Romantic era.

The first movement hints at the chromatic of “Tristan”; cantilena lines convey a mournful scene. It is succeeded by a brilliant scherzo with the cryptic title “Erste fremde Szene” (First Foreign/Unknown Scene – one is invited to solve this riddle), while the third movement, with its singing quality, is related to the first.
The final movement, a “Zweite fremde Szene” (“Second Foreign/Unknown Scene”), alludes to the “last dance” tradition, with its ironic undertones and the copious use of sixths, counterpointed with tarantella rhythms.

A rewarding, striking work, equally valuable for concerts combining older compositions with new works as for contemporary music programmes.

Concert band - Grade 4

SKU: MH.1-59913-064-5

Composed by William Ryden. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 2:45. Published by Manhattan Beach Music (MH.1-59913-064-5).

ISBN 9781599130644.

I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.

Orchestra - Grade 1

SKU: AP.50830S

American Fiddle Tune. Arranged by Bob Phillips. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Fiddle. Score. Alfred Music #00-50830S. Published by Alfred Music (AP.50830S).

ISBN 9781470668617. UPC: 038081587493. English. Traditional Fiddle Tune.

This easy tune features all sections with clever rhythmic variations. Readily accessible and as easy to put together as any Bob Phillips fiddle tune arrangement, the traditional melody appears in all sections and may be taught aurally. Though its origin is unknown, Spotted Pony appears to have roots in the Ozarks in Missouri, Arkansas, or Texas. Fiddlers in the early 20th century claim to have learned it from their grandparents' generation, so it most likely has been played since the late 19th century or earlier. (2:20) Correlates to Sound Innovations, Book 1, Level 4.

Orchestra - Grade 1

SKU: AP.50830

American Fiddle Tune. Arranged by Bob Phillips. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Fiddle. Score and Part(s). Alfred Music #00-50830. Published by Alfred Music (AP.50830).

ISBN 9781470668600. UPC: 038081587486. English. Traditional Fiddle Tune.

This easy tune features all sections with clever rhythmic variations. Readily accessible and as easy to put together as any Bob Phillips fiddle tune arrangement, the traditional melody appears in all sections and may be taught aurally. Though its origin is unknown, Spotted Pony appears to have roots in the Ozarks in Missouri, Arkansas, or Texas. Fiddlers in the early 20th century claim to have learned it from their grandparents' generation, so it most likely has been played since the late 19th century or earlier. (2:20) Correlates to Sound Innovations, Book 1, Level 4.

Oboe

SKU: BT.MUSM570362158

By Melinda Maxwell_John Stringer. Classical. Book Only. 40 pages. University of York Music Press #MUSM570362158. Published by University of York Music Press (BT.MUSM570362158).

English.

This collection of oboe music, written by living composers, is an invaluable resource for any oboist of Grade 8 and conservatoire standard who is curious about widening their repertoire, and exploring the various languages of modern music. The term modern music can alienate many minds who may think it will be too difficult technically; aurally unknown and therefore unsatisfying; harmful or damaging to their musical sensibility. To all these points this volume has the answers. Every one of these pieces requires challenging technical skills demanded of any of the more traditional oboe repertoire, and additionally they will improve technique. Each piece portrays a characterand language that is approachable and compelling. Far from damaging musical sensibility these musical types will open the ear and enrich the spirit. Some are physically demanding and require very good breath control, others need patience in learning new fingerings and timbres, and some travel to extreme registers. But, in all cases, the effort will be rewarding, and not only that, the knowledge gained about the oboe and how it works will be equally entertaining and stimulating.

SATB choir, piano accompaniment, percussion - Beginning

SKU: GI.G-8952

Composed by Hal H. Hopson. Choral. Choral. Sacred. Octavo. 12 pages. GIA Publications #8952. Published by GIA Publications (GI.G-8952).

UPC: 785147895206. English, Swahili. Text Source: Ref.: trad. Swahili, English tr.: unknown, vv.: Jeremiah E. Rankin, 1828–1904, alt. Text by Jeremiah Eames Rankin.

Vigorous rhythms drive this gleeful benediction that alternates the standard text by Jeremiah Rankin with a traditional Swahili refrain. This is an excellent way to send your congregation into the world to minister. Optional part for two drums. The percussion part for two drums is optional.

Bass flute solo

SKU: P2.10020

Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.10020).

The first part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The journey to the underworld is a solo undertaking of the self, towards the unknown, yet still rooted within. The low bass tones invoke mystery and point the direction. As an explorer, licensed teacher of and composer for the shakuhachi (an ancient Zen flute crafted from the thicker root-end of bamboo) I have become initiated into the sense-characteristics of playing a flute that has actual roots as part of its structure. Physically this changes the balance, sonically it presents certain deepening qualities, and aesthetically it alters your connection to the dead and dried piece of nature. I have composed 27 solo pieces and etudes for Taimu (a very thick, bass variant on the traditional shakuhachi flute) and tapped into the same dense, slow, timbral approach for this movement. However, the chromatic, metal, modern bass flute offers a whole new set of possibilities and so the movement explores a wide realm of sounds and tempos. Being rooted in the actual ground is an appropriate starting point for the underworld exploration of the whole suite that only goes deeper from this point downwards. The primacy of the root pitch in tonal music is another contributing facet to the root aspect of this title.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4

SKU: CF.SAS3F

Composed by Ralph Vaughan Williams. Arranged by Todd Parrish. Sws. Cas. Full score. 16 pages. Carl Fischer Music #SAS3F. Published by Carl Fischer Music (CF.SAS3F).

ISBN 9781491157534. UPC: 680160916115. 9 x 12 inches.

Written in 1912, the Fantasia on Christmas Carols was originally scored for baritone solo, chorus, and orchestra. In it, Ralph Vaughan Williams used three folk carols from his native country of England: The Truth Sent from Above, Come all you Worthy Gentlemen, and the Sussex Carol. Though shortened for time, this arrangement contains moments from each carol, including the solo cello opening. Though the melodies are mostly of unknown origin, the harmonies are uniquely the work of Vaughan Williams. This medley offers a unique alternative to traditional holiday programming, combining beautiful English carols with the skill of a world-renowned composer.

4 Saxophones SATBar

SKU: AP.1-ADV7426

For SATBar Saxophone Quartet. Arranged by Bill Perconti. Quartet; Solo Small Ensembles; Woodwind - Saxophone Quartet. Advance Music: Holiday Celebration Series. Christmas; Sacred; Traditional; Winter. Score and Part(s). Advance Music #01-ADV7426. Published by Advance Music (AP.1-ADV7426).

ISBN 9783892215806. UPC: 805095074260. English. Traditional.

The Sleep of the Infant Jesus is a ballad carol that is also a lullaby. Traditionally French, the tune dates before 1800, but the composer is unknown. Although little known, the tune is a beautiful and serene Christmas folk melody.

This arrangement for saxophone quartet (SATBar), rather than favoring a soprano solo with accompaniment, strives to include all the players in the music making, particularly by distributing melodic material. In addition, all dynamics and articulations should be taken as suggestions only, as performers are encouraged to make their own interpretations. Arranged for saxophone quartet.

Score and Parts Chamber Group, String Ensemble, String Instruments, Piano Chamber

SKU: HL.14035705

For Vioin, Viola, Cello, and Piano Score and Parts. Composed by Judith Weir. Music Sales America. Classical. Set. Composed 2000. Chester Music #CH60854. Published by Chester Music (HL.14035705).

ISBN 9780711948075. 9.0x12.0x0.158 inches.

Distance and Enchantment is a musical essay considering the strikingly common occurrence of people who disappear from home never to return. It takes the form of two meditations on traditional songs which are played together without a break, amounting to a single movement of about eleven minutes duration. The first song, The Dark Eyed Gipsy tells of a woman who of her own accord leaves her home to roam the unknown world with a band of gipsies; and the second A ghaoil lig dhachaigh gu m'mathair mi tells of a girl who wanders a little too far from home on a dark night and is stolen away by the fairies. Scored for Violin, Cello, Viola and Piano. Score and parts included.

Heures mystiques: Elevations, Communions, Sorties. By Leon Boellmann. Edited by Schauerte-Maubouet, Helga. For Organ. Playing Score; Urtext Edition (paperbound). Published by Baerenreiter-Ausgaben (German import).

SKU: BR.BV-450

Werk statt Leben - Biographie. Composed by Susanne Popp. Softbound. Buchverlag Breitkopf & Hartel (Music Books).

The extensive and eagerly awaited Reger biography couldn't be introduced at a better time.

Late-romantic; Early modern. Book. 544 pages. Breitkopf and Haertel #BV 450. Published by Breitkopf and Haertel (BR.BV-450).

ISBN 9783765104503. 6.5 x 9.5 inches. German.

And it comes from a most qualified hand that of Susanne Popp, author of the Reger Work Catalogue and head of the Max Reger Institute for many years. She was predestined to portray one of the most fascinating composers of the past turn of the century. No better time? In May 2016 we will be commemorating the 100th anniversary of the death of Max Reger, and the musical world will want to honor with many events the great out-of-time composer who saw himself between tradition and avant-garde. Susanne Popp's comprehensive biography provides help for finding our way in this prolific life on the basis of letters and documents, some of them practically unknown, which visually depict the restless life of the workaholic. Moreover, for the biographical information, a multi-media project is also being planned through audio examples and visual documents on the Reger Institute's home page.

The extensive and eagerly awaited Reger biography couldn't be introduced at a better time.

Orchestra - Grade 2

SKU: AP.45828S

Arranged by Michael Story. Performance Music Ensemble; Single Titles; String Orchestra. Belwin Intermediate String Orchestra. Folk; Traditional. Score. 8 pages. Duration 1:50. Belwin Music #00-45828S. Published by Belwin Music (AP.45828S).

UPC: 038081523323. English. Traditional Russian Folk Song.

Varying styles and an exciting accelerando at the end make this piece a solid choice for concert or festivals. Korobushka (The Peddler) is a Russian folk song and dance. It is based on a poem written in 1861 by Nikolay Nekrasov. The music was written sometime in the late 19th century, although the composer is unknown. The dance that accompanies the song became popular in the early 1900s and was brought to America by Russian immigrants. This is a delightful and playable arrangement created by Michael Story. (1:50).

By Bob Mathews. (String Orchestra). orchestra. Level: Grade 3. Music book. Published by Neil A. Kjos Music Company.