Choral (digital production kit)

SKU: HL.8749161

Composed by Betty Hager and Fred Bock. Fred Bock Publications. Children, Christmas, Christmas Sacred, Musicals. Fred Bock Music Company #BG0710DPK. Published by Fred Bock Music Company (HL.8749161).

UPC: 884088269234. 7x10.5 inches. Betty Hager/Fred Bock.

In this Christmas musical fantasy, dolls, toys, and stuffed animals all come to life at the closing of the day at the toyshop. In the midst of their merrymaking, they discover that the greatest gift of all is Jesus Christ. Familiar carols, as well as new Christmas songs are used to share the message of God's ultimate gift: His Son, the Super Gift from Heaven. This digital kit includes a Preview CD, plus a CD-ROM with the Director's Edition and a teaching resource guide.

Piano, Vocal and Guitar

SKU: HL.14004313

Composed by Cyril Hambly and David Davies. Music Sales America. Musicals. Cassette. Composed 2015. Golden Apple Productions #GA10042. Published by Golden Apple Productions (HL.14004313).

English.

Bethleh em Tails is a nativity play with a difference. This charming, entertaining and educational story tells the Christmas story from the point of view of the animals at Bethlehem, and is sure to capture the imaginations of all 8 to 11-year-olds. The music can be sung as a concert performance with story narrative or as a full musical play. Will suit more able young singers. If you need to license a school/youth theatre performance of this product, please use the online application form.

Piano solo

SKU: HH.HH303-SOL

Composed by Ming Wang. Piano Solo. Playing score. Edition HH Music Publishers #HH303-SOL. Published by Edition HH Music Publishers (HH.HH303-SOL).

ISBN 9790708092520.

Sile nt thunder is a fascinating zoological phenomenon: Elephants are able to communicate with each other through ultra deep frequencies that are wholly inaudible to us: the other elephants in the same troop can perceive these oscillations even at a distance of 20 kilometres and react to them. This mysterious faculty possessed by animals awakened in the composer a musical association linked to the wide sound spectrum of the piano.

The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales

(fur Cello und Klavier) Composed by Antoni Cofalik, Romuald Twardoski. Score; Single Part for cello and piano. Easy cello pieces with piano accompaniment; teaches technical skills in a spirit of fun; Imaginative melodies; Colorful illustrations. Published by Baerenreiter-Ausgaben (German import). ISBN M006531639.

Flute, clarinet, (bass clarinet), trumpet, trombone, piano, violin, viola, violoncello

SKU: HH.HH392-IPT

Composed by Ming Wang. Flute, Clarinet, (Bass Clarinet), Trumpet, Trombone, Piano, Violin, Viola, Violoncello. Instrumental parts. Duration 9 minutes. Edition HH Music Publishers #HH392-IPT. Published by Edition HH Music Publishers (HH.HH392-IPT).

ISBN 9790708146117.

As a work commissioned by Ensemble Reconsil taking South Africa as its theme, this composition conjures up a fantasy landscape by means of its symbolic musical language, its timbres and its quotations from the music of the country’s original, inhabitants as well as that of European newcomers. In the middle stands the ‘Great Limpopo Transfrontier Park’; the establishment of this park of peace has the aim of creating a harmonious, balanced relationship between humans, animals and nature.

By Betty Hager, Fred Bock. (Singer 5 Pak). Fred Bock Publications. Book only. Size 7x10.5 inches. Published by Fred Bock Music Company.

Edited by Donald Peck. Collection and set of performance parts for flute and piano accompaniment. 153 pages. Published by Carl Fischer.

By Wynn-anne Rossi. For Piano. Composers In Focus. Each piece is descriptive in nature, primarily focusing on expressiveness and musical interpretation. Contents include: Forest Canopy; Poison Arrow Frog; Snake Appeal; Giant Purple Butterflies; Monkey Talk; Into the Night Mist; Orchid Tears. Animals and Nature. Level: Intermediate. Book. Published by The FJH Music Company, Inc.

Piano, Vocal and Guitar

SKU: HL.14022429

Composed by Alison Hedger and Sheila Wainwright. Music Sales America. Musicals. Cassette. Composed 2015. Golden Apple Productions #GA11010. Published by Golden Apple Productions (HL.14022429).

English.

A fun musical play in rhyme with seven songs for Primary schools based on the Grimm Brothers' story. Meet the flamboyant donkey who revels in showing-off, the kindly old dog who discovers he can sing, the slinky cat the night-singer, and the always-in-a-flap Rooster. Whilst perfect singing voices are not required, enthusiasm and humour are! The play has nine main characters, a unison speaking chorus, a body of singers and a troupe of dancing forest animals. If you need to license a school/youth theatre performance of this product, please use the online application form.

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

SKU: PR.16500102F

Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F).

ISBN 9781491131749. UPC: 680160680276.

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.

arranged by Simon Lasky. For Saxophone (All). solos. Kevin Mayhew Ltd. Classic. Level: Intermediate. Book. Size 9x12. 40 pages. Published by Kevin Mayhew Ltd.

(Book and CD pak)

SKU: HL.49046399

Book/CD German. Edition Schott. Classical. Softcover with CD. 64 pages. Schott Music #ED23274. Published by Schott Music (HL.49046399).

ISBN 9781540086624. UPC: 840126910230.

Come with me when the animals discover the world of classical music in this book! They dance, sing, play - you can do that too! Do you want to know, ... where classical music can be heard everywhere? ... who composed the fireworks music? What music Ludwig van Beethoven wrote? ... what does the giant double bass sound like? You can find answers to these and many other questions in your book. The enclosed CD with 28 audio samples is a sonorous companion for your musical journey!

By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano Method. Music for Little Mozarts. Level: Level 3-4. Plush Toy. Published by Alfred Publishing.

Concert Band - Grade 2.5; Grade 3

SKU: AP.51006S

Composed by JaRod Hall. Concert Band; Performance Music Ensemble; Single Titles. MakeMusic Young Band. Programmatic. Score. Duration 3:30. MakeMusic #00-51006S. Published by MakeMusic (AP.51006S).

ISBN 9781470665791. UPC: 038081583860. English.

Unleash the spirit of adventure and embrace the wild beauty of the Alaskan wilderness with Across the Alaskan Snow by JaRod Hall. Inspired by the legendary Iditarod Trail Sled Dog Race, this stirring musical journey is a testament to the human spirit, the bond between humans and animals, and the awe-inspiring power of nature. Your students will transport audiences across icy plains and beneath dazzling sunsets, leaving them with a deep appreciation for the relentless pursuit of dreams in the face of adversity. (3:30).

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

SKU: PR.16500101F

Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F).

ISBN 9781491131725. UPC: 680160680252.

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.

Classroom

SKU: BT.9781408165645

Composed by Cathy McCallum. Book with CD. Collins Music Publishing #9781408165645. Published by Collins Music Publishing (BT.9781408165645).

ISBN 9781408165645. English.

Choir Secular

SKU: AP.48828

Composed by Katie O'Connor-Ballantyne. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Choral Designs. Novelty; Secular. CD. Alfred Music #00-48828. Published by Alfred Music (AP.48828).

UPC: 038081561523. English.

Have you ever heard of a bear with wings? Or a biffalo-buffalo-bison? How about a wallaboo? A. A. Milne, best-known as the author of Winnie the Pooh, penned this playful poem about amusing animals, both real and imagined, at a zany zoo. This clever children's choral offers plenty of musical moments (including independent counterlines and logical 2-part harmonies) in between giggles. Perform with a light, bright tone and crisp consonants on the patter-like words. Two likely results: hilarious rehearsals and a roaring crowd!

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1371

Composed by Roland Barrett. Concert Band. FJH Young Band. Score and Part(s). Duration 3:15. The FJH Music Company Inc #98-B1371. Published by The FJH Music Company Inc (FJ.B1371).

UPC: 674398223558. English.

Depicting life in the desert, this captivating work begins with the haunting sounds of a baron desert as relentless heat hits it by day. At night, exotic plants and animals spring to life, portrayed with rhythmic vitality and bold musical statements. The work ends as softly as it began, with the relentless sun once again beating down on the parched desert. Intense and captivating!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

Piano, Vocal and Guitar

SKU: HL.14027502

Composed by Niki Davies. Music Sales America. Musical Education. Book and CD. Composed 2016. 24 pages. Golden Apple Productions #GA11220. Published by Golden Apple Productions (HL.14027502).

ISBN 9780711988866. 9.0x12.0x0.103 inches. English.

Robin's passion is to sing. He happily joins in with all the festive Christmas music, but this doesn't make him very popular. The stars redeem the situation, and take him to the Bethlehem stable, where he leads a Christmas sing-along with all the animals and characters from the play. A charming story with clever songs that implement the National Curriculum for Music Requirements. Details of these and other curriculum links are included in the educational notes. The matching CD contains a complete performance of all the songs plus imaginative backing tracks to sing along to. Script available in student book. If you need to license a school/youth theatre performance of this product, please use the online application form.

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.

By Christine H. Barden, Gayle Kowalchyk, and E. L. Lancaster. For Piano. Piano Method. Music for Little Mozarts. Level: Level 2-4. Plush Toy. Published by Alfred Publishing.

Flute, clarinet, (bass clarinet), trumpet, trombone, piano, violin, viola, violoncello

SKU: HH.HH392-CON

Composed by Ming Wang. Flute, Clarinet, (Bass Clarinet), Trumpet, Trombone, Piano, Violin, Viola, Violoncello. Conducting score. Duration 9 minutes. Edition HH Music Publishers #HH392-CON. Published by Edition HH Music Publishers (HH.HH392-CON).

ISBN 9790708146063.

As a work commissioned by Ensemble Reconsil taking South Africa as its theme, this composition conjures up a fantasy landscape by means of its symbolic musical language, its timbres and its quotations from the music of the country’s original, inhabitants as well as that of European newcomers. In the middle stands the ‘Great Limpopo Transfrontier Park’; the establishment of this park of peace has the aim of creating a harmonious, balanced relationship between humans, animals and nature.