By Dorothy Zerbe. 2-part, piano. Janet Galvan Roots & Wings. Sacred. Octavo. Published by Roger Dean.

(7 Graded Arrangements for Late Elementary Pianists). Arranged by Wynn-Anne Rossi. For Piano. Book; Graded Standard Repertoire; Piano Collection; Piano Supplemental. For Students. Form: Medley. Christmas; Sacred; Secular; Traditional; Winter. Late Elementary. 24 pages. Published by Alfred Music Publishing

High Voice, Book/CD Pack. By John Jacob Niles. Vocal Collection. BOOK W/CD. 48 pages. Published by G. Schirmer, Inc.

Piano Solo. By John Jacob Niles. Arranged by L Horton. Piano Solo (Intermediate to advanced piano arrangements with no lyrics). Size 9x12 inches. 4 pages. Published by G. Schirmer, Inc.

By David Pearl (Arranger). For Flute, Piano Accompaniment. Christmas. Sheet Music and Audio CD. 50 pages. Published by Music Sales.

(9 arrangements of favorite carols for intermediate to late intermediate pianists) Arranged by Martha Mier. Songbook for solo piano. 24 pages. Published by Alfred Publishing.

Medium Voice. By Various. Arranged by William Henry Neidlinger. Vocal Solo. Size 9x12 inches. 112 pages. Published by G. Schirmer, Inc.

Arranged by Sharon Aaronson. For Piano. Piano Collection. Level: Late Intermediate / Early Advanced (grade 6/6+). Book. 24 pages. Published by Alfred Publishing.

Hal Leonard Student Piano Library. Arranged by Phillip Keveren. Educational Piano Library. Floppy disk. Size 9x12 inches. Published by Hal Leonard.

By Richard J. Barber. For Viola. Solo for Viola. Meter: 3/4. Christmas. Level: 3. Duration 4'00". Published by David E. Smith Publications.

Piano

SKU: HL.645786

By Peter Solymos. By Peter Ilyich Tchaikovsky. Educational Piano. Pedagogical performance pieces. Softcover. Op. 39. 4 pages. Duration 7200 seconds. Schaum Publications, Inc. #6715. Published by Schaum Publications, Inc. (HL.645786).

ISBN 9790080067154. UPC: 008148067152. 9.0x12.0 inches. Hungarian, English, German, French, Spanish. Peter Solymos.

These 24 fanciful miniatures capture some delightful observations and experiences that any youth might enjoy.

By Jeanine Yeager. Piano. Neil A. Kjos Piano Library. Christmas. Level: Level 1. Music Book. Published by Neil A. Kjos Music Company.

Hal Leonard Student Piano Library. Arranged by Fred Kern, Phillip Keveren and Mona Rejino. Educational Piano Library. Book only. Size 9x12 inches. 32 pages. Published by Hal Leonard.

High Voice in c minor. By John Jacob Niles. Arranged by L Horton. Vocal Solo. Size 9x12 inches. 6 pages. Published by G. Schirmer, Inc.

Composed by John Rutter (1945-). John Rutter Anniversary Edition. Vocal score. 4 pages. Duration 3'. Published by Oxford University Press (OU.9780193416789).

Arranged by Leo Nestor. For Mezzo-Soprano voice solo, SATB Choir. (Mixed Voices). Christmas. Choral. Published by E.C. Schirmer Publishing.

By Lopez. For 2 pianos, 4 hands. Piano duets. Keyboard music. Published by SoundForth

Composed by Andrew Carter. For SATB choir. Eboracum Choral Series. Octavo. Published by Banks Publications

(C Instruments). By Various. Fake Book. Softcover. 432 pages. Published by Hal Leonard

By Various. E-Z Play Today. Softcover. Big note notation. 880 pages. Published by Hal Leonard

For Piano and Voice, with Guitar chord symbols. Christmas. Sheet Music. 40 pages. Published by Chester Music.

366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Beloff. Fake Book. Country, Pop, Standards. Softcover. 416 pages. Published by Hal Leonard (HL.212971).

(366 More Songs for Better Living). By Various. Arranged by Jim Beloff and Liz Beloff. Fake Book. Softcover. 416 pages. Published by Hal Leonard

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pages. Published by Hal Leonard.

Tenor & String Quartet

SKU: PE.EP72822

Composed by Jonathan Dove. Voice(s) & Various Instruments. Edition Peters. Living Composer. Score and Part(s). 164 pages. Duration 00:30:00. Edition Peters #98-EP72822. Published by Edition Peters (PE.EP72822).

ISBN 9790577011769. 232 x 303mm inches. English.

I have only visited Damascus once, twenty years ago, on the way to Palmyra.  I had a purpose (I was writing music for a play about Palmyra’s Queen Zenobia) but essentially I was a tourist.  Like any visitor, I was thrilled to step out of the noisy modern city into the magical ancient world of the walled Old City, its vibrant souk leading to the magnificent mosque, and a labyrinth of winding, narrow streets filled with the smell of unleavened bread.

In Palmyra, I was met with extraordinary kindness everywhere.  On one occasion, a little Bedouin boy noticed that I was risking sunstroke wandering bare-headed among the spectacular ruins: he showed me how to tie a turban, then took me to have tea with his family in their tent.

Since then, I have watched helplessly as these places of wonder have been devastated and their inhabitants scattered and killed.  When the Sacconi Quartet suggested that I might choose a Syrian poet for our collaboration, I welcomed the idea.

I searched for a long time to find a contemporary poet whose work might gain from any music I could imagine.  I felt it was important to find first-hand accounts of the Syrian experience – but, of course, I was always reading them in translation.  In an anthology called Syria Speaks, I was astonished to read something that looked like prose, but was full of poetry.  It was Anne-Marie McManus’s fine translation of Ali Safar’s A Black Cloud in a Leaden White Sky – an eloquent, thoughtful, contained yet vivid account of life in a war-torn country, all the more moving for its restraint.

In setting these words, I have not attempted to imitate Syrian music.  However, there is what might be called a linguistic accommodation in my choice of scale, or mode.  Several movements are in a mode that I first discovered while writing a cantata commemorating the First World War: it has a tuning that I associate with war, its violence and desolation.  This eight-note mode is similar to scales found in Syrian music.  I did not choose it in the abstract: it emerged from the harmonies I was exploring in the earlier work, and emerged again as I was looking for the right musical colours to set Ali Safar’s words.  In this work, its Arabic aspect is more prominent. - Jonathan Dove

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