SKU: WD.080689648236

Composed by Cliff Duren. Choral. Sacred Anthem, Eastertide. Octavo. Word Music #080689648236. Published by Word Music (WD.080689648236).

UPC: 080689648236.

Arran ged and orchestrated by Cliff Duren is this brand new passion-filled worship song, The Hope of the Cross. Invite your congregation into a time of pure meditation as they listen to the gentle piano and words describing the peace and comfort the cross can give to us, knowing that because of the cross, we are redeemed. This hopeful and tranquil anthem delivers the perfect atmosphere for any Good Friday or Easter worship service.

(Melody, Lyrics and Simplified Chords in the Key of C). By Various. Fake Book. Softcover. 200 pages. Published by Hal Leonard

By Various. Piano/Vocal/Guitar Songbook. Softcover. 384 pages. Published by Hal Leonard

Various instruments

SKU: WD.080689483677

Composed by Christy Semsen. Arranged by David Hamilton. Choral, cantatas. Eastertide. Orchestration. Word Music #080689483677. Published by Word Music (WD.080689483677).

UPC: 080689483677.

For centuries, believers have celebrated the season of Advent (or coming) in anticipation of the celebration of Christ's arrival. Hope Arriving offers a unique and refreshing means to easily yet powerfully usher in this special season. Five anthems (one for each Sunday of Advent plus one for Christmas) are included, centering around the five candles/themes of Advent and Christmas. Each song can be performed separately during Advent and Christmas or together as a special, 25-minute Advent worship experience. David Hamilton brings his signature of stunning arranging/orchestrations in a perfect blend from chamber to fuller instrumentations. Christy Semsen's optional narrative offers the opportunity to have church laypeople and/or families to read prior to each song. An optional devotional booklet is available separately for choir members or the entire church to enrich the experience. Songs include the breathtaking Be Born In Me (as recorded by Francesca Battistelli) along with favorite carols and two brand new songs penned by David Hamilton (Glory to God and Tiny Little Town). Create an unforgettable Advent experience for your church and community with Hope Arriving.

Choral (VoiceTrax CD)

SKU: HL.322641

Discovery Level 2. Composed by John Francis Wade. Arranged by Cristi Cary Miller. Discovery Choral. Christmas, Holiday. CD. Duration 180 seconds. Published by Hal Leonard (HL.322641).

UPC: 888680975210. 5.0x5.0x0.196 inches.

Oh Come, All Ye Faithful is one of the most recognizable Christmas carols in the world. Set in its original Latin text at the start of the piece, Miller further augments the annual holiday favorite with brand new lyrics, giving the song a celebratory and modern flavor!

(SATB Chorus and Organ). By Lee Hoiby (1926-). SATB. Choral. Schott Music #ED30047. Published by Schott Music

By Lorie Line. For Piano/Keyboard. Piano Solo Personality. Softcover. 124 pages. Hal Leonard #TLP343. Published by Hal Leonard

Performed by Kurt Weill. Edited by Carol Cuellar. Songbook (Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords). 284 pages. Published by Alfred Publishing.

Songs Of The Wizz. Composed by Charlie Smalls. Arranged by Peter Kleine Schaars. Catalogue Movie and Musical. Movie and Musical. Recorded on The Magnificent Seven (ML.311058720). Full set. Duration 9 minutes, 41 seconds. Molenaar Edition #012507060. Published by Molenaar Edition (ML.012507060).

Choral (SSA Choir)

SKU: HL.287107

Andrea Ramsey Choral Series. Composed by Richard Strauss. Arranged by Brandon Williams. Andrea Ramsey Choral Series. Concert, Festival. Octavo. 12 pages. Published by Hal Leonard (HL.287107).

UPC: 888680901349. 6.75x10.5 inches.

The beautiful song from Richard Strauss' first collection of published songs is here skillfully arranged for women's voices. The German “Lied,” elevated in the 19th century by Schubert, was taken to new heights by Strauss in the early 20th century. Here the women sing of their longing for the return of a deceased love.

Piano

SKU: HL.51481022

Arranged for Piano. Composed by Franz Liszt. Edited by Andrea Lindmayr-Brandl. Henle Music Folios. Classical. Softcover. 24 pages. G. Henle #HN1022. Published by G. Henle (HL.51481022).

UPC: 196288278696. 9.0x12.0x0.092 inches.

Schubert's Ständchen (Serenade) on Rellstab's poem “Leise flehen meine Lieder” (Gently My Songs Entreat) not only numbers among the most well-known art songs, but is still a real hit today in Liszt's arrangement for piano solo. Initially published in 1838 in a version without ossias, the arrangement began its triumph on the piano by 1840 at the latest – probably not least thanks to Liszt's obliging addition of easier variants – as numerous editions published throughout Europe during the composer's lifetime testify. Liszt himself liked to play the Ständchen as an encore and even wrote small cadenzas for it, which are of course taken into account in the new Henle Urtext edition. English and French translations of the German poem as well as the placement of the song text above the music round off the edition, for which Evgeny Kissin provided the fingerings.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

A Musical Journey Through B.B. King's Guitars and Music Gear from His Youth Through Today. Reference. Biography / MUSIC BISAC, Blues Reference, Guitar Reference. Softcover. 112 pages. Published by Centerstream Publications

Composed by Cameron Pearce. Brass, Repertoire, Collections. Modern Etudes for Solo Trumpet. Softcover Book and CD. Sher Music Company #9781883217945. Published by Sher Music Company

Composed by Cameron Pearce. Method book and performance/accompaniment CD. Published by Sher Music Company (SR.MEST).

Fiddle, Violin - Difficulty: medium

SKU: HL.235

By Various. Fiddle. Folk. Solo fiddle songbook. With performance notes, introductory text and standard notation. 96 pages. Published by Centerstream Publications (HL.235).

ISBN 9781574240566. UPC: 073999567786. 9x12 inches.

This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.

By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish. Level: Beginning-Intermediate. Book/CD Set. Size 9.x11.75. 180 pages. Published by AMA Verlag. ISBN 3899220234.

By Amy Appleby. For Piano and Voice, with Guitar chord symbols. Irish, Folk, Celtic. Level: Intermediate to Advanced. Sheet Music. Published by Wise Publications.

compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.