Composed by Jimmie Davis. Arranged by Mike Sheppard. De Haske Flute Series. Pop and Rock. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206217- 070. Published by De Haske Publications

By russian. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 4000 pages. Published by Subito Music.

By Bob Chilcott. For SATB choir and piano(s) and percussion/orchestra ([2(1piccolo, 2 flutes).2.2.2 -2.2.3.0], timpani, 2 percussionists (1=bongos, woodblock, drumkit, glockenspiel, tambourine, triangle; 2=hi hat, glockenspiel, triangle, suspended cymbal, side drum), harp, strings). Untuned Percussion. Pieces and Studies. Percussion part (version for one player). 8 pages. Duration 10'. Published by Oxford University Press

From the Television Series. Arranged by Mike Sheppard. De Haske Flute Series. TV-Film- Musical-Show. Set (Score and Parts). Composed 2020. De Haske Publications #DHP 1206221-070. Published by De Haske Publications

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani, Tom-tom and more. - Grade 2

SKU: CF.YPS241F

Composed by David Bobrowitz. Full score. 17 pages. Carl Fischer Music #YPS241F. Published by Carl Fischer Music (CF.YPS241F).

ISBN 9781491159668. UPC: 680160918256.

PROGR AM NOTES Heartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek. Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom. PERFORMANCE NOTES The opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents. Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly.
 PROGRAM NOTESHeartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek.Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom.PERFORMANCE NOTESThe opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents.  Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani, Tom-tom and more. - Grade 2

SKU: CF.YPS241

Composed by David Bobrowitz. Set of Score and Parts. 17+4+4+2+4+4+2+2+3+2+2+2+ 4+4+4+4+3+3+3+2+3+2+1+3+3 pages. Duration 2 minutes, 53 seconds. Carl Fischer Music #YPS241. Published by Carl Fischer Music (CF.YPS241).

ISBN 9781491159651. UPC: 680160918249.

PROGR AM NOTES Heartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek. Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom. PERFORMANCE NOTES The opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents. Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly.
 PROGRAM NOTESHeartbreak Trail describes the forced relocation of approximately 100,000 Native Americans in the 1830s. Known as the Trail of Tears, thousands lost their lives during the march, and it is remembered today as a great human-rights atrocity and a shameful period in American history. The opening A-section captures the sadness of those in the five tribes who were forced from their homeland. The fast B-section represents the determination to survive the long, difficult trek.Although there were many obstacles, thousands did survive, but a dark A-section returns to depict the loss of homeland, fellow tribe members, and a depression over the new lack of freedom.PERFORMANCE NOTESThe opening should be at a moderate pace and section entrances should be balanced at mezzo piano. In m. 12 have the woodwinds play out their melodic material. In m. 20 the brass should pick up the same volume level as did the woodwinds previously. Measure 27 should die away from what was, and then a sudden change in volume, and mood at m. 31. The entire B-section should be bold, with attention paid to the many accents. (Before working the B-section, an explanation of the difference in accents will probably aid in accuracy.) Measures 37 and 41 have the timpanist and tom-tom player play a very strong forte with attention to the accents.  Measures 51 to 52 work a strong quick crescendo to fortissimo. This should set up the tutti forte at m. 53. In m. 61 start a gradual diminuendo to the return of the A-section at m. 68. Explain how to execute the staggered breathing for the flutes, tenor sax and trombone starting at m. 73. Although the final percussion from m. 73 to the end is soft and fading, make sure the final sleigh bell sounds are heard clearly.

2 descant recorders (violins, flutes, oboes, clarinets) (Ss)

SKU: HL.49002378

Showing various musical devices. Composed by Francis Baines. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Playing score. 12 pages. Schott Music #ED 10463. Published by Schott Music (HL.49002378).

ISBN 9790220102622. 6.0x9.0x0.052 inches.

SATB vocal soli, SATB choir, cello/contrabass, organ

SKU: CA.2100311

Composed by Marc-Antoine Charpentier. Edited by Annick Fiaschi. Arranged by Paul Horn. French Sacred Music. German title: Magnificat. Sacred vocal music, Magnificats, Motets, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Single Part, Cello/Double Bass. Composed 1695. H. 4 pages. Duration 9 minutes. Carus Verlag #CV 21.003/11. Published by Carus Verlag (CA.2100311).

ISBN 9790007197674. Language: Latin.

Marc-Antoine Charpentier's Magnificat H 78 was composed around 1690 for the Jesuits in Paris. No less than ten works by the composer, in differing vocal and instrumental scoring and form comprise this genre. In the present Magnificat H 78 for five voices (in which alto and bass also have solo roles), two flutes, strings and basso continuo, each of the individual movements contains its own expressive profile in sound. Score and part available separately - see item CA.2100300.

Orchestra SST vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, 2 violins, viola, cello, contrabass, organ

SKU: CA.4007305

O! Come let us worship and kneel before the Lord. Composed by Felix Bartholdy Mendelssohn. Edited by R. Larry Todd. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. DER 95.PSALM/KOMMT,LAssT UNS ANBETEN. Sacred vocal music, Cantatas, Psalms, German, Praise and thanks, Psalms. Choral Score. Composed 1838. MWV A 16, Op. 46. Duration 28 minutes. Carus Verlag #CV 40.073/05. Published by Carus Verlag (CA.4007305).

ISBN 9790007060732. Language: German/English.

The Psalms inspired Mendelssohn throughout his working life, and, aside from a cappella settings, he left behind five great orchestral Psalms. Score available separately - see item CA.4007300.

(Oratorienfragment. Teil I: Die Geburt Christi Teil II: Das Leiden Christi). By Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. For tenor solo voice, SATTBB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombo

Concert band - Grade 4

SKU: MH.1-59913-070-X

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 10:00. Published by Manhattan Beach Music (MH.1-59913-070-X).

ISBN 9781599130705.

Prog ram Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

Concert band - Grade 4

SKU: MH.1-59913-071-8

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor Full Score. Duration 10:00. Published by Manhattan Beach Music (MH.1-59913-071-8).

ISBN 9781599130712.

Prog ram Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

(For Concert Band). By Valerie Coleman. Concert band. For Piccolo, 3 Flutes, 2 Oboes, Clarinet in Eb, 3 Clarinets in Bb, Bass Clarinet in Bb/Contrabass Clarinet in Bb, 2 Bassoons, Contrabassoon, Soprano Saxophone, 2 Alto Saxophones, Tenor Saxophone, Baritone Saxophone, 3 Trumpets in Bb, 4 Horns in F, 3 Trombones. Contemporary. Full score (study). Standard notation. 40 pages. Duration 7 minutes. Published by Theodore Presser Company

Chamber Music Flute 1, Flute 2, Flute 3, Flute 4, Flute 5, Piccolo 1, Piccolo 2, Piccolo 3, Piccolo 4, Piccolo 5

SKU: PR.114419390

For Five Flutes (doubling Piccolos). Composed by Martin Amlin. Sws. Set of Score and Parts. 24+8+8+8+8+8 pages. Duration 10 minutes. Theodore Presser Company #114-41939. Published by Theodore Presser Company (PR.114419390).

ISBN 9781491130858. UPC: 680160677139. 9 x 12 inches.

Martin Amlin’s new tour de force is a quintet composed for Leone Buyse. It is a study in textures and canonic gestures scored for 5 C Flutes, each doubling Piccolo. As with his rhythmic writing, Amlin’s movement titles are engagingly cryptic yet meaningful: 1. Apparatus, 2. Mirémi, 3. Spiral Canon. Ideal for advanced and professional flutists, the work’s intricacies create an exhilarating ten minutes.
THREE INVENTIONS was premiered at Boston University on April 14, 2019 by flutists/piccoloists Matthew Lee, Jessie Wang, Courtney Regester, Pauline Jung, and Alyssa Primeau. The piece is dedicated to the composer’s longtime friend Leone Buyse.Apparatus is a little musical machine whose engine is driven by the interval of a perfect fifth. Fifths combine with each other in increasingly larger intervals in a repetitive pattern that appears at higher pitch levels with each iteration.Mirémi is constructed loosely on an ostinato consisting of the notes D and E. The two notes are passed back and forth among the instruments, combining with symmetrical patterns of faster notes.Spiral Canon is a continuous canon throughout among the five instruments. It not only spirals upward in register, but is also constantly “modulating,” spiraling twice through the entire circle of fifths.— Martin Amlin.

SKU: HL.48183751

Composed by Jindrich Feld. Leduc. Classical. Softcover. 36 pages. Alphonse Leduc #AL25969. Published by Alphonse Leduc (HL.48183751).

UPC: 888680859343. 9.0x12.0x0.191 inches.

Duo Concertant is a pretty Flute duet by Jind?ich Feld that lasts approximately fifteen minutes. An explanation of the symbols used is given at the beginning of the score. Written in the unique genre of its composer, this difficult duet is divided into five sections. I. Introduzione - Lento II. Toccata ? Allegro assai III. Intermezzo - Tranquillo IV. Scherzo ? Allegro vivo V. Epilogo - Lento This great piece is perfect for a recital or a concert. Jind?ich Feld was born in Prague in 1925. From a musician family, he specialised in Viola and Violin. He composed numerous pieces with a style that mixes his origins and occidental music from the 20th century. He later became composition professor operating worldwide..

By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Level: Grade 2. Conductor Full Score. Duration 2:45. Published by Manhattan Beach Music.

By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Level: Grade 2. Conductor score and set of parts. Duration 2:45. Published by Manhattan Beach Music.

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes (2nd also Piccolo), 2 Oboes, 2 Trombones (2nd Tenor-Bass), 2 Trumpets in Bb, 3 Percussion, 4 French Horns in F, 5 , Claves, Maracas, Percussion I: 4 Graduated Concert Tom-toms, Sizzle Cymbal, Snare Drum, Timpani (3)

SKU: PR.466000700

Concerto for Brass Quintet and Orchestra. Composed by Peter Schickele. Contemporary. Full score. With Standard notation. Composed August 1 1978. Duration 23 minutes. Theodore Presser Company #466-00070. Published by Theodore Presser Company (PR.466000700).

UPC: 680160603534. 8.5 x 11 inches.

Orchestra 2 Bassoons, 2 Clarinets in Bb, 2 Flutes (2nd also Piccolo), 2 Oboes, 2 Trombones (2nd Tenor-Bass), 2 Trumpets in Bb, 3 Percussion, 4 French Horns in F, 5 , Claves, Maracas, Percussion I: 4 Graduated Concert Tom-toms, Sizzle Cymbal, Snare Drum, Timpani (3)

SKU: PR.46600070L

Concerto for Brass Quintet and Orchestra. Composed by Peter Schickele. Contemporary. Large Score. With Standard notation. Composed August 1 1978. Duration 23 minutes. Theodore Presser Company #466-00070L. Published by Theodore Presser Company (PR.46600070L).

UPC: 680160603541. 11 x 17 inches.

Piano

SKU: SU.96010560

Composed by Wolfgang Amadeus Mozart. Score. Subito Music Corporation #96010560. Published by Subito Music Corporation (SU.96010560).

Transcribed and arranged for Piano by Lawrence RosenA new, 3-volume set of Mozart Dances for Piano, 14 of these dance suites are faithfully transcribed for piano at the early to advanced intermediate level. Almost all appear as new Mozart music for piano (except for the Six German Dances, K. 509, which Mozart himself arranged for piano.) Within each volume, they are arranged by increasing difficulty. They are eminently suited for teaching, recital and concert performance, encores, recording, sight-reading practice, and theoretical study. We sincerely hope you enjoy them as much as we did in discovering and creating these little masterpieces.
CONTENTS
Six Landler, K. 606 (Originally for 2 Violins, Violoncello/Contrabass)
Five Country Dances, K. 609 (originally for Flute, 2 Violins, Violoncello/Contrabass

Two Minuets, K. 463 (originally for Oboe, Bassoon, 2 Horns, 2 Violins, Violoncello/Contrabass)
Six German Dances, K. 567 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass)
Six German Dances, K. 509 (originally for 2 Flutes, Piccolo, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Violins, Violoncello/Contrabass)In strumentation: Piano

Published by: Subito Music Publishing.

Trombone solo with concert band - moderately advanced

SKU: CY.CC2904

Composed by Vladislav Blazhevich. Arranged by Benjamin Coy. Russian 20th Century. Score & Parts. Published by Cherry Classics (CY.CC2904).

Concert Piece No. 5 (also known as Concert Sketch No. 5) was composed in 1938 and is the only one of five of these works that are known. After this work, the composer apparently composed his 13 concertos for the Trombone.
This work is very popular for high school level performers and this premier arrangement by Benjamin Coy will allow Trombone soloists to perform the work with a large ensemble.
The music is in a Russian sounding romantic style and about 7 minutes in length, appropriate for moderately advanced performers.
Instrumen tation for the Concert Band is:
2 Flutes, Oboe, 3 Clarinets in B-flat, Bass Clarinet, Bassoon, Alto Sax, Tenor Sax, Baritone Sax, 2 Trumpets in B-flat, 2 Horns, 2 Trombones, Euphonium, Tuba, Timpani, Marimba (can be replaced with a keyboard or Xylophone) & Percussion.
Cherry Classics Music is thankful to the Blazhevich Estate for giving permission to license and publish this work.

Concert Band - difficult

SKU: HL.49015665

Full Score. Composed by Bertold Hummel. This edition: Paperback/Soft Cover. Sheet music. Schott Harmonie Serie (Concert Band). Classical. Score. Composed 1977. Op. 67. 104 pages. Duration 25'. Schott Music #SHS1023. Published by Schott Music (HL.49015665).

ISBN 9790001139786. UPC: 884088156251. 9.0x12.0x0.296 inches.

Best playability and musical spirit - this is what characterizes the music of Bertold Hummel who died in 2002, and why his music must be part of the repertoire of any amateur and semi-professional orchestra. The Oregon Symphony occupies a special position in his oeuvre: it was written by Hummel for the typically American symphonic wind bands, requiring almost 100 musicians, including 15 clarinets in three groups of five alone, as well as four piccolos and six flutes, bass clarinet, bassoons, saxophones, trumpets, horns, tubas and the typically American sousaphone, and five percussionists. The work consists of four movements; in the rousing finale, Hummel mixes jazz motifs with popular themes and even weaves the anthem of the State of Oregon in the final music. For getting better acquainted with this music, the first movement is also separately available ('Symphonische Ouverture', SHS 1001).

Picc. * 2 * 2 * Klar. in Es * 3 * Bassklar. in B * 2 Altsax. in Es * Tenorsax. in B * Baritonsax. in Es * 2 - 4 * 3 (Korn.) * 3 * Tenorhr. in B (Bar.) * 2 - P. S. (Trgl. * 4 hg. Beck. * Beckenp. * Tamt. * Gong * Glock. ad lib. * Bngs. * Schellentr. * kl. Tr. * gr. Tr. * Holzbl. * Tempelbl. * Ratsche * Xyl. * Vibr) (5 Spieler) - Kb.

SATTB voices, 2 flutes, 2 violins, viola, basso continuo

SKU: CA.2102305

Composed by Marc-Antoine Charpentier. Edited by Gunther Massenkeil, Inge Forst. German title: Magnificat H 78. Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Choral Score. Composed circa 1690. H 78. 8 pages. Duration 15 minutes. Carus Verlag #CV 21.023/05. Published by Carus Verlag (CA.2102305).

ISBN 9790007132385. Key: G major. Language: Latin.

Preceding Johann Sebastian Bach, Charpentier is the most important master who turned to setting the Hymn to the Virgin Mary, the Magnificat. No less than ten works, in differing vocal and instrumental scoring and form comprise this genre. In the present Magnificat H 78 for five voices (in which alto and bass also have solo roles), two flutes, strings and basso continuo, each of the individual movements contains its own expressive profile in sound. The work was composed around 1690 for the Jesuits in Paris. Score available separately - see item CA.2102300.

Two solo violins, strings & continuo

SKU: HH.HH591-FSC

Composed by Michele Mascitti. Edited by Michael Talbot. Full score. Edition HH Music Publishers #HH591-FSC. Published by Edition HH Music Publishers (HH.HH591-FSC).

ISBN 9781914137242.

Ordi nary violin sonatas formed the backbone of the series of ten collections that the Italian violinist Michel Mascitti (1663/4–1760), born in southern Italy but permanently resident in Paris from 1703, committed to print between 1704 and 1738. His Op. 7 (1727) opens with eight such sonatas but ends with four concertos for strings in six parts that, alongside a collection of concertos for five flutes (!) by J.B. de Boismortier published in the same year, inaugurate the proud tradition of concertos created on French soil. Amazingly, Mascitti’s concertos have been neglected not merely by publishers and performers but also by commentators. In particular, the first two concertos display great musical merit in an original idiom that combines Italian and French influences in a very personal way. Further, their Italianate elements juxtapose features familiar from the concertos of Corelli, Mascitti’s reputed teacher, with ones more usually associated with Vivaldi. Both concertos are laden with emotion, albeit never at the expense of the polish and attention to detail that are the hallmark of Mascitti’s craft.