Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

The New Imperial Edition. By Various. Arranged by Sydney Northcote. (Bass). Boosey and Hawkes Voice. Book only. Size 9x12 inches. 100 pages. Published by Boosey and Hawkes.

Grade 3

SKU: AP.98-RWS191400

Composed by N. A. Clark and Castro. Concert Band. Score and set of parts. Composed 2019. RWS Music Company #RWS-1914-00. Published by RWS Music Company (AP.98-RWS191400).

Palustrus, for percussion ensemble and band, is based on two musical ideas. The first, a figure of two 16th notes, is introduced alluding to tiny seedlings as they sprout from the fertile earth. This figure quickly grows in frequency and density, then spreads into the second idea using a series of diatonic patterns. Palustrus is a medium-difficult, but attainable technical challenge in a diatonic setting. Splashes of dissonance in the winds support the active and exciting percussion ensemble statements throughout. Highly recommended for programs with a larger percussion section!

For organ: 2-staff. Sacred, Advent, Christmas, Epiphany, General, Thanksgiving. Moderately easy. Published by Lorenz Publishing Company

Written by Amanda Vick Lethco, Morton Manus, Willard A. Palmer. For voice and piano. Includes piano/vocal songbook and instructional book. With vocal melody, lyrics and introductory text. Instructional and hymn. 48 pages. 9x12 inches. Published by Alfred.

Composed by Todd Stalter. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Part(s); Score. 202 pages. Duration 2:45. Alfred Music #00-44976. Published by Alfred Music (AP.44976).

For voice and guitar. Format: fakebook. With vocal melody, lyrics, guitar tablature, chord names, guitar chord diagrams and strum and pick patterns. Christmas and holiday. Series: Hal Leonard Fake Books. 189 pages. 9x12 inches. Published by Hal Leonard.

200 Holiday Favorites. Composed by Various. Fake Book. Softcover. 288 pages. Published by Hal Leonard

by William Bay. For all recorder. Sacred, duets. Level: Intermediate. Book. Solos. Size 8.75x11.75. 40 pages. Published by Mel Bay Pub., Inc.

By Daniel Baldwin. For clarinet, bassoon, horn, piano. Level 5. Duration 16 minutes. Published by Imagine Music

Composed by Todd Stalter. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Score. 8 pages. Duration 2:45. Alfred Music #00-44976S. Published by Alfred Music (AP.44976S).

Composed by Robert A. Hobby (1962-). For SATB choir, organ or chamber orchestra. Catholic Year C Epiphany of the Lord. Epiphany. Moderately Easy. Choral score. Published by MorningStar Music Publishers

Saxophone Quartet

SKU: AY.SQ3667PM

Composed by Hinse Mutter. Woodwinds - Saxophone. Periferia Publishing #SQ3667PM. Published by Periferia Publishing (AY.SQ3667PM).

ISBN 9790543578203.

Ad terra was first performed in November 2017 at the Grachtenfestival (Amsterdam, Netherlands) by the Keuris Quartet, in a joint commission by the Grachtenfestival and Gaudeamus Muziekweek. Ad terra imagines the creation in the sun of individual photons and the sometimes thousands of years long struggle they have: bouncing around on their way from the core of the sun to the outer layers before finally being released and flying towards Earth.

Alto, Mixed choir (SATB), Piano

SKU: BA.BA11309

Composed by Camille Saint-Saens. Edited by Christina M. Stahl. This edition: urtext edition. Paperback. Score. Baerenreiter Verlag #BA11309. Published by Baerenreiter Verlag (BA.BA11309).

ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.

It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.

It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.

In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.

Saint-Sa ëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.

The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.

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
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

(Grade 3 - Score Only). By Philip Sparke (1951-). For Concert Band. Anglo Music Concert Band. Grade 3. 16 pages. Anglo Music Press #AMP337040. Published by Anglo Music Press

Song Cycle for Soprano and Piano. By Vincent Persichetti. Text: Wallace Stevens. For Piano, Soprano. Piano/Vocal Score. 105 pages. Published by Theodore Presser Company.

Trumpet & Piano - intermediate

SKU: ST.H490

Composed by R. Orlando Morgan. Wind & brass music. Standard: Intermediate. Score and part. Stainer & Bell Ltd. #H490. Published by Stainer & Bell Ltd. (ST.H490).

ISBN 9790220224768.

Ther e is a dearth of short, romantic trumpet pieces of intermediate grade that challenge and inspire players who already feel secure both in their technique and powers of interpretation. The reissue of Legend by R. Orlando Morgan (1865-1956) will therefore be greatly welcomed, as music enriched by the passionate harmonies of Tchaikovsky and even of Wagner, in an idiom that is graceful and sure. Though largely forgotten, the composer was one of many whose artful command of classical styles earned them respect in their lifetimes, neglect thereafter on account of changing fashions and now, with yet another swing of the pendulum of taste, the chance for re-evaluation today.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Fl/cl. Fl/ob/cl. Cl/Hn/ca. Bcl/Bsn - Intermediate

SKU: FT.FM475

Composed by Russell Hepplewhite. Flexible Wind Quartet. Score and parts. Forton Music #FM475. Published by Forton Music (FT.FM475).

ISBN 9790570483747.

The first movement Chocolate Hills explores an unearthly but colourful image of enormous hills turned brown from the dry season and located in the Phillipines.  The second movement Socotra focuses on an area of Yemen so remote and with a climate so unforgiving it is amazing any species can survive there at all, and yet the image I based my music upon is bursting with life including dragon's blood trees, Socotra sunbirds and legless lizards. The third movement Moeraki Boulders takes us to a beach in New Zealand to ponder the ghostly appearance of clusters of spherical rocks formed several million years ago; while the final movement Stone Forest ends our musical journey imagining an area in China in which vast stalagmite-like formations rise from the ground and create the appearance of petrified trees.  .

By James Biery. For Trumpet, Organ (SATB). Psalms 29. Christ the King. Medium. Choral score. Published by MorningStar Music Publishers

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

E flat Tenor Horn or B flat Baritone or Euphonium & Piano - intermediate

SKU: ST.H439

Composed by Bryan Kelly. Wind & brass music. Four Pieces for E flat Tenor Horn or B flat Baritone or Euphonium and piano.. (Treble and Bass clef parts are provided for Euphonium).. . Standard: Intermediate. Score and parts. Stainer & Bell Ltd. #H439. Published by Stainer & Bell Ltd. (ST.H439).

ISBN 9790220220760.

Skil fully written for a range of instruments that suffer from a dearth of repertoire, Bryan Kelly's Brass Bagatelles offer a variety of enticing moods and styles at an intermediate level that will ensure their popularity amongst brass players of around Grades 4 to 5 standard.

The first two movements - a stern minuet and rollicking march - take a tongue-in-cheek look at aspects of ceremonial music. The third, marked 'Tenero' is more introspective, a winsome tune in lilting rhythm. The finale is a gig that contrasts wicked offbeat accents with smooth melody - very typical of this composer - and ends with a splendid glissando from the piano.

Many of Bryan Kelly's pieces for brass have featured on examination syllabuses over the years - reflecting his talent to create fresh, approachable music that delights students, teachers and examiners alike.

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.