Viola

SKU: KU.GM-372_VA

Composed by Tomaso Giovanni Albinoni. Edited by Walter Kolneder. Bach format (230 x 302). Folded. Part. Op. 10/6. 3 pages. Edition Kunzelmann #GM-372_VA. Published by Edition Kunzelmann (KU.GM-372_VA).

Key: D major.

Band concert band - Grade 1

SKU: CF.BPS90F

Composed by Carol Brittin Chambers. SWS. Full score. With Standard notation. 16 pages. Duration 1 minute, 50 seconds. Carl Fischer Music #BPS90F. Published by Carl Fischer Music (CF.BPS90F).

ISBN 9781491140680. UPC: 680160628742. 9 x 12 inches.

Your beginning band students will love attacking this rock infused original piece from composer Carol Brittin Chambers. The technical demands are within the grasp of beginning players, but it is full of exciting rock harmonies and rhythms to make it fun for your budding musicians to play. This will be one of those pieces they will ask to play everyday as they enter the band room!

Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass

SKU: PR.11640110L

Composed by Adolphus Hailstork. Large Score. Duration 8 minutes. Theodore Presser Company #116-40110L. Published by Theodore Presser Company (PR.11640110L).

UPC: 680160682751.

The Essay for Strings was written in 1986 in memory of Glenn Hull, a colleague and the choir director at Norfolk State University during my early years there. His sudden passing was a shock, and I expressed my sadness in this work. It was premiered that year by the NSU orchestra at their Winter concert. In w000, after conductor-composer Coleridge Taylor Perkinson gave the work its second performance in Chicago (with the ensemble of the Center For Black Music Reasearch), I decided to add it to my catalog of orchestra works. The designation Essay refers to the fact that the piece is based on one idea (like a literary essay). In this case the musical idea (or motive) is made from the initials of my deceased friend, Glenn Hull (G and H in music are represented by the pitches G and B-natural). These two notes are sounded throughout the work in tribute to him.

By Franz Schubert. (Study Score). Schott. 46 pages. Published by Eulenburg London (Schott).

String Quartet (ob,bsn,vc,pno)

SKU: BR.EB-9430

Composed by Rainer Sievers. Chamber music; Folder. Edition Breitkopf. Music post-1945; New music (post-2000). Performance score. Composed 2021. 30 pages. Duration 4'. Breitkopf and Haertel #EB 9430. Published by Breitkopf and Haertel (BR.EB-9430).

ISBN 9790004189078. 10 x 12.5 inches.

Miniatur: Ein komplettes Ganzes in kleiner Dimension (Zwerg, Bonsai). Oder ein reprasentativer Teil vom Ganzen ( pars pro toto ). Oder das Wesen des Ganzen (Essenz). Oder die Idee von etwas Grosserem, ein Plan oder eine Intuition - etwas, das entfaltet beziehungsweise ausgelegt werden will (Samen, Aphorismus)?... Miniatur ist kurzer als die Worte uber sie. Rainer Sievers

World premiere: Freiburg, September 17, 2021 (Ensemble Aventure).

By Michael Davis. For 4 Trombones. As recorded by London's finest. Beautiful opening chorale, followed by a cool as cucumber rhythmic and melodic body. Contemporary. Level: advanced. Set of parts. Published by Hip-Bone Music.

SKU: NR.105753

Composed by Hendrik Pienaar Hofmeyr. Chamber music (3-9 instruments). Score. Noten Roehr #105753. Published by Noten Roehr (NR.105753).

Flute quartet

SKU: PR.ZM28320

Nr. 2: Die zaertlichen Freunde. Composed by Johann Kloeffler. With Standard notation. Zimmermann #ZM28320. Published by Zimmermann (PR.ZM28320).

UPC: 680160653140.

Arranged by Bob Cerulli. For String Orchestra. String Orchestra. Belwin Beginning String Orchestra. Level: 2 (grade 2). Conductor Score. 12 pages. Published by Alfred Publishing.

By Pat Ballard. Arranged by Ed Lojeski. (SATB). Pop Choral Series. 16 pages. Published by Hal Leonard.

Orchestra (picc.4.4(cor ang).5(Eb-clar.Bb-clar).4 (dble bsn) - 4.3.3.1 - 2hp.timp.perc(4) - str)

SKU: BR.PB-5669

Textcritical Edition. Composed by Gustav Mahler. Edited by Vorname Nachname. Orchestra; Linen. Partitur-Bibliothek (Score Library). Symphony; Late-romantic. Sheet Music. Duration 75'. Breitkopf and Haertel #PB 5669. Published by Breitkopf and Haertel (BR.PB-5669).

ISBN 9790004216064. 0 x 0 inches.

Chamber Music flute, piano

SKU: PR.114415090

For Flute and Piano. Composed by Gary Schocker. Sws. Premiere: NFA 2011 - Nora Lee Garcia, flute. Contemporary. Set of Score and Parts. With Standard notation. Composed February 20 2011. 16+8 pages. Duration 5 minutes. Theodore Presser Company #114-41509. Published by Theodore Presser Company (PR.114415090).

ISBN 9781598063516. UPC: 680160600168. 9x12 inches.

Under the Sultan is an enchanting showpiece inspired by Turkish folk and popular music. This jazz-infused slow-fast recital work is bound to be a show-stopper! For advanced players. Duration: 8'_______________________ ________________Text from the scanned back cover:Under the Sultan for Flute and Piano (114-41509)New in 2011, Under the Sultan is an enchanting showpiece inspired by Turkish folk and popular music. This jazz-infused slow-fast recital work is bound to be a show-stopper!

String Quartet

SKU: BT.DV-12017

Composed by Angelo Bruzzese. Contemporary Music. Set (Score & Parts). Composed 2022. 12 pages. Da Vinci Publishing #DV 12017. Published by Da Vinci Publishing (BT.DV-12017).

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band Bass Clarinet, Bassoon, Bongos, Cabasa, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Hi-hat Cymbal, Horn 1, Horn 2, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS164F

Composed by Gregory Rudgers. SWS. Full score. With Standard notation. 28 pages. Duration 4 minutes, 36 seconds. Carl Fischer Music #CPS164F. Published by Carl Fischer Music (CF.CPS164F).

ISBN 9781491140789. UPC: 680160628841. 9 x 12 inches.

This is a lovely, introspective piece dedicated to the loss of a dear person. Unlike many pieces that have come out of sorrow, this piece is uplifting. At first, you will hear lush, lyrical lines that recall the memories of the one lost, but then the piece soars with a lilting 3/4 time feel that brings this heartfelt selection to a dramatic conclusion.

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

SKU: PR.11441941S

Composed by Adolphus Hailstork. Sws. Full score. 68 pages. Duration 20 minutes. Theodore Presser Company #114-41941S. Published by Theodore Presser Company (PR.11441941S).

UPC: 680160681365. 9 x 12 inches.

Detroit, for several decades, was a city where I received many important composing and performance opportunities in the early and middle part of my career. The Detroit Symphony Orchestra even commissioned my second symphony. My cantata DONE MADE MY VOW has been performed there more times than any place else. The chorus for those performances was always the outstanding BRAZEAL DENNARD CHORALE. He loved his city and was a great mentor to me. The final movement of this quintet is dedicated to his memory.

String Quartet

SKU: BT.DV-10127

Composed by Mats Eden. Set of Parts. 32 pages. Da Vinci Publishing #DV 10127. Published by Da Vinci Publishing (BT.DV-10127).

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Oboe 3, Percussion, Piano, Piccolo, Timpani, Trombone 1 and more.

SKU: PR.41641493L

Composed by Stacy Garrop. Contemporary. Large Score. With Standard notation. Composed Summer 2003. 26 pages. Duration 4 minutes, 40 seconds. Theodore Presser Company #416-41493L. Published by Theodore Presser Company (PR.41641493L).

UPC: 680160617753. 11 x 17 inches.

By Johann Ernst Galliard. For tenor saxophone and piano (organ). Swiss import. Level: 4. Score and parts. Published by Editions Marc Reift. (EMR 2141F)

Composed by Frank Loesser. For voice, piano and guitar chords. Format: piano/vocal/chords single. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Broadway and Vocal Standards. F Major. 4 pages. 9x12 inches. Published by Hal Leonard.

SKU: NR.109556

Facsimile. Composed by Alberto Beriot Nepomuceno. Chamber music (3-9 instruments). Score. Noten Roehr #109556. Published by Noten Roehr (NR.109556).

(1D1.1.2.1/2.2.1.0,perc,3 sax,str)

SKU: TM.06157SET

Composed by Gustav Luders. Arranged by Anderson. Set Type: D. Set of parts. Lucks Music Library #A3220. Published by Lucks Music Library (TM.06157SET).

P/C in set.

SSAA choir, piano accompaniment - Early intermediate

SKU: GI.WW1814

Composed by American Folk Song. Arranged by Dwight Bigler. School, Concert. Walton Choral. Classical. Octavo. 20 pages. Walton Music #WW1814. Published by Walton Music (GI.WW1814).

UPC: 785147026068. English. Text Source: American Folk Song.

Old Joe Clark is a tremendously fun American folksong from the Appalachian region. Fantastic and fun vocal lines are supported by a lively, yet accessible, piano accompaniment. Add spoons and clapping/stomping for a great time! MP3 is SATB recording.

Oboe and piano

SKU: M7.SAE-4-09

Composed by Giulio Romano Caccini. Arranged by Lucian Moraru. Sheet music. Score and part. 10 pages. SonArt Edition #SAE 4-09. Published by SonArt Edition (M7.SAE-4-09).

ISBN 9790707651384.

This is a unique arrangement for oboe and piano, a work that preserves the beauty of the original work, an master piece for sacred music, but at the same time different in essence due to the creative and innovative flavour that was introduced in orchestration on this occasion. The piece has been carefully adapted to suit the technical needs of each instrument, being a smart choice for players that want to achieve the acclaim from the audience. This piece of music is suitable both for concerts given by professionals and for auditions in schools, colleges, conservatories or can be used in various other private events.

Orchestra String Bass, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11642031S

Composed by Charles Ives. Arranged by Samuel Adler. Study Score. Duration 8 minutes. Theodore Presser Company #116-42031S. Published by Theodore Presser Company (PR.11642031S).

UPC: 680160691760.

Piano

SKU: HL.260594

For Piano. Composed by Anna Thorvaldsdottir. Music Sales America. Classical. Softcover. Composed 2017. Duration 420 seconds. Chester Music #CH86867. Published by Chester Music (HL.260594).

9.0x12.0x0.085 inches. English.

Anna Thorvaldsdottir's Scape was composed in 2011 for Piano.

Opera Piano, solo Voices

SKU: PR.411411630

Opera in Two Acts. Composed by Ricky Ian Gordon. Piano Reduction Score. 438 pages. Duration 2 minutes, 30 seconds. Theodore Presser Company #411-41163. Published by Theodore Presser Company (PR.411411630).

ISBN 9781491137635. UPC: 680160691081. English. Intimate Apparel by Lynn Nottage.

Originally an award-winning play, Lynn Nottage’s INTIMATE APPAREL was inspired by her great-grandmother’s life in New York in the early 20th century. The Pulitzer-laureate also created the libretto for Ricky Ian Gordon’s grand-yet-intimate opera whose complete instrumentation is two pianos. The story follows the life of a young, single seamstress who has recently emigrated from Barbados, the fascinating cast of characters in her life, and her socially-unacceptable feelings of affection for a Jewish fabric salesman. The premiere production of this 2½-hour drama was televised nationally from Lincoln Center on PBS’s “Great Performances.”.
Inti mate Apparel began with an old photograph that I found haphazardly wedged between the pages of a Family Circle magazine. I was helping my grandmother, who’d developed debilitating senile dementia, move from her longtime home in Crown Heights, Brooklyn. In the midst of a pile of weathered magazines I discovered a black and white passport photograph of my grandmother Waple and her younger sister Eurita sitting on their mother’s lap. It was the first time I’d ever seen an image of my great-grandmother Ethel, a striking woman with high West African cheekbones and a gentle intensity. She had been a seamstress from Barbados, who at the age of 18 arrived alone in New York City at the dawn of the Twentieth Century. The image invited a thousand questions, none that could be answered by the living, and it led me on a journey to piece together the history of my great-grandmother Ethel, a woman who was basically a stranger to me. The only clue that I had about Ethel, was a story that my grandmother had once told me about her mother corresponding with a man laboring on the Panama Canal, who would eventually become her husband. I was fascinated by this story, which served as the inspiration for INTIMATE APPAREL.As I began my research for INTIMATE APPAREL at the New York Public Library, I discovered that lives of Black working women in the early 1900s were woefully absent from the archive. So, I found myself perusing help wanted listings, boarding house and clothing advertisements, looking for any sign of women like my great-grandmother on the printed page. As I was doing so, I began to find the characters that would populate the world of INTIMATE APPAREL; Esther the lonely seamstress, Mrs. Dickson the proprietress of the boardinghouse for Black women, Mr. Marks the Jewish fabric salesman on the Lower Eastside, Mrs. Van Buren the wealthy white socialite on the Upper Eastside, Mayme the sex worker in the tenderloin, and George the laborer toiling on the Panama Canal. As I was conjuring the characters, I realized that I was interested in the unexpected intersections between class, race, and gender at the turn of the Twentieth Century, and what happens when people across cultural and economic divides are thrust into spaces of intimacy.INTIMATE APPAREL began its life as a popular play, but it was the brilliant composer Ricky Ian Gordon who invited me to consider adapting it into an opera. He saw something epic and expansive in the life of Esther that he felt demanded to be sung, and with his loving guidance I was able to write my first libretto. It took me several tries to figure out how to wrestle my play into a form that was new to me. As a playwright, I kept wanting to maintain absolute control of the narrative. But, it was Ricky’s words that freed me creatively to find my way into the libretto. He said, “You’re not trusting my music as a narrative tool; I can say “I love you” without any words, with just music. So, allow me to be your collaborator on the storytelling.” And once he said that, we found INTIMATE APPAREL the opera together.