SKU: HL.49017506

Composed by Bohuslav Martinu. PANTON. Hal Leonard #P840. Published by Hal Leonard (HL.49017506).

String Orchestra - Grade 3

SKU: KN.09791S

Composed by Ottorino Respighi. Arranged by Harry Alshin. Solo or Ensemble. Apex String Orchestra. Kendor Music Inc #09791S. Published by Kendor Music Inc (KN.09791S).

UPC: 822795097917.

Featu ring five movements in diverse styles and forms by Italy's most important composer of the post-Romantic era, this set of early Respighi works is a refreshing departure from the magnificent symphonic poems (ex. Pines of Rome) for which he is best known. All accents, articulations and dynamics should be carefully observed, and the forte passages in the Galliard and Masquerade should by played in boisterous fashion. Duration 5:15.

Piano

SKU: HL.51481223

Composed by Ludwig van Beethoven. Edited by Murray Perahia and Norbert Gertsch. Henle Music Folios. Classical. Softcover. 34 pages. G. Henle #HN1223. Published by G. Henle (HL.51481223).

UPC: 888680991654. 9.0x12.0x0.12 inches.

“The farewell / Vienna, May 4, 1809 / on the departure of his Imperial Highness the revered Archduke Rudolph” – Beethoven added this inscription to the manuscript of this sonata. It is today know by its French title les Adieux and numbers amongst the composer's best-loved piano works. The first movement of the sonata was presumably written directly before the archduke hurriedly left Vienna. Rudolph and other members of the imperial family fled to Hungary to avoid having to endure the French troops' siege and conquest. On his return in January 1810, Beethoven was able to present him with the complete sonata, having written not only the “farewell,” but also “absence” and “return.”.

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Mezzo Soprano and Ensemble - Grade 4

SKU: HL.14034109

Composed by Asbjorn Schaathun. Music Sales America. Classical. Score. Music Sales #KP01033. Published by Music Sales (HL.14034109).

ISBN 9788759891599. International (more than one language).

Asbjorn Schaathun TRIPLIS+ (1996-98)For mezzo-soprano, percussion, electric organ, alto flute, coranglais, clarinet, violin, viola , cello, double-bass and piano.Triplis+ consists of seven songs based on computer-manipulated text fragments from Wilhelm Muller's 'Die schone Mullerin'. The seven songs should be played without interruption:I) Warum nicht?II)Nicht so...III)AngstIV) Wohin?V) HeimatVI) StilleVII)RuhigThe score of TRIPLIS+ has a long history. The whole project began as a piece for piano and mezzo, DUALIS (1987), to which I added percussion instruments to the vocal and piano parts, which was deeply unsatisfying. (I also suggested certain ways of making different versions of the piece, a so-called 'open score', but this was even worse...) From the ruins of this piece I carved out a new DUALIS (1991), using the same material, but with no percussion instruments added and in the form of a traditional 'frozen' score.In 1993 I was asked to include a separate percussion part for a trio-version of my first undertakings of DUALIS. In close collaboration with the Cikada Trio I created a new version, TRIPLIS (1993) which then in turn was taken as a point of departure for an extended version of the piece called TRIPLIS+ (1996-99). In this 'version integrale', I - due to the requirements of the commission - added an ensemble of 8 instruments, sometimes elaborating material from the mezzo-line, sometimes contradicting or commenting upon it. The piano has a special role in both TRIPLIS+ and TRIPLIS; functioning as a kind of 'libro', the piano textures, which have the feel of an accompanying part, are played ad lib throughout the work. In this way the pianist can change the actual dramatical flow of the piece.The first performance of TRIPLIS+ took place in the Bjergsted Music Centre in Stavanger, Norway in April 1999, with the commissioner, Stavanger Contemporary Music Ensemble under direction of the composer.The score is dedicated to B.Asbjorn Schaathun.

Bass Guitar

SKU: HL.14010819

Composed by Preben Fahnoe. Music Sales America. Tuition. Book and CD. Composed 2005. Edition Wilhelm Hansen #WH30462. Published by Edition Wilhelm Hansen (HL.14010819).

ISBN 9788759810071.

The Nordic Bass introduces melodic playing on the electric bass. It is not a beginner's book, and it is advised that you have some playing experience, since the book takes its point of departure in part-playing without accompaniment by other instruments. The opening chapters deal with chord playing as well as various playing techniques such as touch, tapping and harmonics. The melodic material is based on songs from the Nordic folk music tradition. A CD is enclosed, which enables you to hear the arrangements as they are intended to sound.

Traditional Irish. By Mark Sirett. (SATB A Cappella). Celtic Voices. Size 7x10.5 inches. 6 pages. Published by Boosey and Hawkes.

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.

Score and Parts baritone, trumpet, trombone and bass clarinet

SKU: HL.49046406

For Baritone, Trumpet, Trombone, and Bass Clarinet Score and Part. Composed by Lei Liang. Sheet music. Edition Schott. Softcover. Composed 2016. 44 pages. Duration 11'. Schott Music #ED 31309. Published by Schott Music (HL.49046406).

ISBN 9781540086945. UPC: 840126910674. 9.0x12.0x0.26 inches. Chinese - English.

Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a 'V'shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationship with silence: underneath the music is a profoundly deep silence upon which I seekto inscribe my signature through sound. It serves as a point of departure that led to a series of works.In Lakescape V, the tranquility in the original 'lake' series is disturbed by showers of 'phonetic particles' taken from Wai-lim Yip's poetry (in both English and Chinese) as the piece traverses through different states of mind.Lakescape V was written for and dedicated to loadbang who gave its world premiere at the Miller Theatre's Composer Portrait on November 17th, 2016.- Lei Liang.

(for Electric String Quartet) Composed by George Crumb (1929-). Full score for amplified string quartet. Facsimile printing from the manuscript by the composer. With full score notation and performance notes. 9 pages. Published by C.F. Peters.

By Brian Casey. Brass choir. For 3 trumpets, 3 trombones, euphonium, tuba. Score and set of parts. Published by Lovebird Music. (131) Level: Grade 4.

(2.2.2.2/4.2.3.1,timp,4 perc,hp,str)

SKU: TM.08933SET

Composed by Samuel Coleridge-Taylor. Set Type: D. Set of parts. Published by Lucks Music Library (TM.08933SET).

The Wooing, Marriage Feast, Bird Scene, Conjurers Dance, Departure, Reunion. P/C in set.

Organ - Level 4

SKU: BA.BA11093

Composed by Martin Herchenroder. Stapled. Performance score. Composed 2008/2013. 19 pages. Duration 12 hours. Baerenreiter Verlag #BA11093_00. Published by Baerenreiter Verlag (BA.BA11093).

ISBN 9790006565269. 30 x 23 cm inches. Preface: Herchenroder, Martin.

“Tocc ata and Lament” was composed on commission in 2008 to inaugurate the large new organ in the Christ Church Cathedral, Rochester, NY, USA. This instrument is a detailed reconstruction of a late Baroque organ of 1776 from Vilnius in Lithuania. The point of departure – a clash of contrasting eras and musical cultures on two continents – already bodes excitement. Martin Herchenröder, a composer and professor of music theory, has incorporated these contrasts in his roughly eight-minute composition. The result is a musical idiom of rare distinction, universal in its musical resources and alternating between tonal triads and extremely dissonant clusters. The heart of the piece is a dirge which, using the Baroque doctrine of the affections, relates to Eastern European cultural history in and around Vilnius, a history marked by the predations of 20th-Century war.

Commissioned by American Composers Forum. Composed by Alice Parker. ChoralQuest. Concert. Octavo. 40 pages. Published by American Composers Forum

By Henry Mollicone. Text: Browning, Blake, Byron, Tennyson. For Tenor and piano. Secular. Vocal Music. 24 pages. Published by Ione Press.

(The Departure - No. 1 from A War Song Trilogy ). Arranged by D. Farrell Smith. For SSA Voices with Keyboard. 8 pages. Duration 2 minutes, 30 seconds. Published by Carl Fischer

By Elliot Del Borgo. Arranged by Elliot Del Borgo. String Orchestra. FJH String Orchestra. Score for this title: ST6030S. Extra part for this title: ST6030P. Level: 3. Published by The FJH Music Company Inc.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

By Felix Mendelssohn. Edited by Maurice Hinson. For Piano. Piano Collection. Masterwork. Book. 192 pages. Published by Alfred Publishing.

Composed by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Part. 26 pages. Published by Baerenreiter Verlag

BandQuest Series Grade 3. By Tania Leon. (Score and Parts). Score and full set of parts. American Composers Forum Concert Band. Published by American Composers Forum.

Concert Band/Harmonie - Grade 5

SKU: BT.DHP-1053776-140

Composed by Piet Swerts. Sovereign Series. Concert Piece. Score Only. Composed 2005. 92 pages. De Haske Publications #DHP 1053776-140. Published by De Haske Publications (BT.DHP-1053776-140).

English-German-French- Dutch.

This delightful new composition takes its inspiration from the classic French swash buckling tale of Cyrano de Bergerac and his fight to win the love of the beautiful maiden Roxane. The subject was a perfect departure point for composing a symphonic poem with a variety of musical aspects reflecting the story. Lyricism (the theme of Roxane), dramatic episodes, as well as Debussy-inspired impressionist moments are some of the elements that give the band and its conductor the chance to expose themselves as a versatile ensemble being able to create colour, to sing and to play like virtuosi. This work is sure to become a standard item in the concert band repertoire.

In Cyrano verklankt de componist Piet Swerts het romantische en tragische verhaal van de briljante dichter en zwaardkunstenaar Cyrano de Bergerac en zijn mooie, intellectuele nicht Roxane, op wie hij tot over zijn oren verliefdis. Zijn uiterlijk, met name zijn buitengewoon grote neus, belet hem om zijn gevoelens tegenover haar te uiten. De vele verwikkelingen die uit deze situatie voortkomen zijn te herkennen in deze programmatische compositie.

Piet Swerts erzählt hier musikalisch die tragisch-romantische Geschichte von Cyrano de Bergerac, der einem verliebten Freund hilft, seine Liebe zu erobern und sich dann selbst unglücklich in dessen Angebetete verliebt. Diese Komposition spiegelt die Geschichte mit einer Vielfalt an musikalischen Aspekten eindrucksvoll wider. Lyrik, dramatische Episoden sowie von Debussy inspirierte, impressionistische Momente sind einige der Elemente, die dem Blasorchester und seinem Dirigenten die Chance bieten, sich als vielseitiges Ensemble, das zugleich Farben entfalten, singen und virtuos spielen kann, zu präsentieren.

L a comédie héro que Cyrano de Bergerac (1897) valut son auteur une gloire immédiate. Cyrano, héros tragique et attachant, est entré dans le patrimoine universel, sans doute parce qu’il incarne superbement un mythe bien ancien : celui de l’amour et du bonheur impossibles. Ce délicieux chef-d’œuvre thé tral d’Edmond Rostand a inspiré ce poème symphonique de Piet Swerts qui s’articule autour d’une grande diversité musicale exprimant différentes scènes de la pièce. Passages lyriques, épisodes dramatiques et moments impressionnistes, Cyrano comprend de nombreux ingrédients qui permettent au chef et sa formation d’exploiter leur polyvalence travers lacouleur, le chant et le jeu virtuose.

La commedia Cyrano de Bergerac (1897) valse al suo autore gloria immediata. Cyrano, eroe tragico e commovente, è entrato nel patrimonio universale senza dubbio perché incarna a meraviglia un mito molto antico: quello dell’amore e della felicit impossibili. Questo delizioso capolavoro teatrale di Edmond Rostand ha ispirato il poema sinfonico che si articola attorno ad una grande diversit musicale esprimendo diverse scene dell’opera teatrale. Passaggi lirici, episodi drammatici e momenti impressionanti, Cyrano comprende numerosi ingredienti che permettono al maestro di sfruttare la polivalenza attraverso il colore, il canto e il suono virtuoso.

(2+1.2.2.2/4.2.3.1,timp,p erc,hp,(org),str)

SKU: TM.07618SET

Composed by Samuel Coleridge-Taylor. Set Type: D. Set of parts. Lucks Music Library #A5368. Published by Lucks Music Library (TM.07618SET).

3rd trombone may be played by tuba and vice versa.

Composed by Yoasobi. Piano Pop Vocal/Liu Xing Gang Qin. Book. Yamaha Music Media #GTP01097892. Published by Yamaha Music Media

(Commissioned by the American Composers Forum). By Alice Parker. For Choral (SSA). American Composers Forum Choral. 40 pages. Published by American Composers Forum

Piano Solo. By Robert Schumann. Arranged by Clara Wieck-schumann. Piano Large Works (Arranged for piano). Size 9x12 inches. 24 pages. Published by G. Schirmer, Inc.

Chamber Music & Piano Accompaniment 1 Violin 1 Piano - Grade 2

SKU: FL.FX074205

Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074205. Published by FLEX Editions (FL.FX074205).

A little wordplay for our young string instrumentalists of the 1st cycle, always very attached to their luthier... The music can evoke at the same time the walk of the cat always on the alert, but also the departure of a heavy fishing boat... - Pascal PROUST ; Instruments: 1 Violin 1 Piano; Difficuly Level: Grade 2; Duration: 2 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST.