645 Songs from 285 Shows. Composed by Various. Fake Book. Broadway. Softcover. 696 pages. Published by Hal Leonard

Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.

By Joshua V. Hinkel. Concert Band. Concert Band; Part(s); Score. Alfred Debut Series. Fall; Halloween; Novelty. Grade 1. 128 pages. Published by Alfred Music Publishing

6-DVD Set. (DVD). Performance video. DVD . Published by Devine Entertainment Corporation.

(Heavy Metal Guitar Meets the Blues). By Dave Martone. For Guitar. Book; DVD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Blues; Metal; Rock. 96 pages. Published by Alfred Music Publishing

By Ann Bryant. For Pending; Piano. This edition: Revised Edition. Book; Method/Instruction; Other Classroom; Piano Method. Faber Edition: Keyclub. Children. Early Elementary; Elementary. Published by Faber Music

Composed by John Rutter (1945-). This edition: paperback. Upper Voices. Secular. Vocal score. 12 pages. Duration 3'. Published by Oxford University Press (OU.9780193408296).

Clarinet Solo

SKU: IS.C7288EM

Composed by Mike Curtis. Woodwinds - Clarinet. Metropolis Music Publishers #C7288EM. Published by Metropolis Music Publishers (IS.C7288EM).

ISBN 9790365072880.

Amer ican composer and woodwind performer Mike Curtis is equally comfortable in classical, jazz, and ethnic settings. He has toured the world as a klezmer clarinetist, played bassoon with symphonies and opera companies, and recorded on sax with jazz greats Charlie Rouse and Anthony Braxton. His compositions show the influence of those experiences and more. A Week in Plasencia was written following Mike’s 2015 trip to the International Clarinet Association festival in Madrid. After a week in the City that Never Sleeps, Mike sought an unknown, tranquil, provincial alternative. Sunny Plasencia, a riverside town at the foot of the Sierra de Gredos, came to reveal itself as a magical font of beauty, history, and inspiration. This piece exists in two versions, for solo clarinet and clarinet quartet. This product page listing is for the Solo Clarinet version.

Clarinet Quartet

SKU: IS.CQ7019EM

Composed by Mike Curtis. Woodwinds - Clarinet. Metropolis Music Publishers #CQ7019EM. Published by Metropolis Music Publishers (IS.CQ7019EM).

ISBN 9790365070190.

Amer ican composer and woodwind performer Mike Curtis is equally comfortable in classical, jazz, and ethnic settings. He has toured the world as a klezmer clarinetist, played bassoon with symphonies and opera companies, and recorded on sax with jazz greats Charlie Rouse and Anthony Braxton. His compositions show the influence of those experiences and more. A Week in Plasencia was written following Mike’s 2015 trip to the International Clarinet Association festival in Madrid. After a week in the City that Never Sleeps, Mike sought an unknown, tranquil, provincial alternative. Sunny Plasencia, a riverside town at the foot of the Sierra de Gredos, came to reveal itself as a magical font of beauty, history, and inspiration. This piece exists in two versions, for solo clarinet and clarinet quartet. This product page listing is for the Clarinet Quartet version.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Q uartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.

Composed by Tyler S. Grant. Young Band. FJH Young Band. Score and parts. Duration 5 minutes, 30 seconds. Published by The FJH Music Company Inc (FJ.B1683).

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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Band Concert Band - Grade 2

SKU: CF.YPS200

Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3 +2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (CF.YPS200).

ISBN 9781491152201. UPC: 680160909704. Key: D minor.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Band Concert Band - Grade 2

SKU: CF.YPS200F

Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F).

ISBN 9781491152881. UPC: 680160910380.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

By Ann Bryant. For Piano. Method/Instruction; Piano Method. Faber Edition: Keyclub. Children. Book

By Ann Bryant. For Piano. Method/Instruction; Piano Method. Faber Edition: Keyclub. Children. Book. Published by Alfred Music Publishing

For Vocal Soprano. Includes an expansive, newly engraved vocal score, printed on high-quality ivory paper; and a CD G graphics-enabled compact disc with complete versions (with soloist) in digital stereo, followed by digital stereo orchestral accompaniments to each piece, minus the soloist. Published by Music Minus One.

(Off the Record with The Beatles, Bowie, Elton and So Much More). By Ken Scott and Bobby Owsinski. Book; DVD; Reference Textbooks; Textbook - General. 448 pages. Published by Alfred Music Publishing

(TB BR)

SKU: HL.49041686

Einfuhrung und Kommentar. Composed by Richard Wagner. Edited by Kurt Pahlen. This edition: Paperback/Soft Cover. Paperback. Serie Musik. Diese umfassende Einfuhrung in Wagners Oper Lohengrin enthalt das vollstandige Libretto mit zahlreichen Notenbeispielen. Kurt Pahlen kommentiert das Werk durch musikbezogene Hinweise sowie Erlauterungen zur inneren und ausseren Handlung. Eine das Geschehe. Text book/libretto. 318 pages. Schott Music #SEM 8030. Published by Schott Music (HL.49041686).

ISBN 9783254080301. 4.75x7.5x0.727 inches. German.

Wagner's 'Lohengrin' is described as a 'great romantic opera' in which Wagner opens up two completely different worlds for the listener. On the one hand, there is the mystical world of the Knight of the Grail which could be described as embodiment of the Christian element in 'Lohengrin', and on the other hand, there is the opposing magical world of Ortrud. Wagner had studied the origins of the medieval legend of the Knight of the Swan intensively for years, with Wolfram von Eschenbach's work certainly being the best source for Wagner's libretto.Apart from the libretto, this edition contains introductory commentaries of Kurt Pahlen who also adds information on the compositional structure and context to the musical as well as external and internal dramatic action of the opera. A short synopsis and a brief outline of the genesis bring the work into relation with the composer's entire oeuvre and life, thus offering a comprehensive, richly illustrated introduction.

(Clarinet in B-flat and Piano). Composed by Max Reger (1873-1916). Edited by Michael Kube. For Clarinet, Piano Accompaniment. Henle Music Folios. Softcover. 10 pages. G. Henle #HN1296. Published by G. Henle

Choir Secular Countertenor Solo - Children's Chorus - SATB choir- 2 piano - percussion

SKU: PE.EP72698A

Cantata for Solo Countertenor, Children's Chorus, Adult Mixed Chorus, Two Pianos and Percussion. Composed by Jonathan Dove. Choral Works (inc. Oratorios). Edition Peters. Book. 92 pages. Duration 00:25:00. Edition Peters #98-EP72698A. Published by Edition Peters (PE.EP72698A).

ISBN 9790577010519. 210 x 297mm inches. English.

Commiss ioned by Making Music with funds from the Nicholas Berwin Charitable Foundation

First performance: 12th March 2016, Waltham Singers, conducted by Andrew Fardell, King Edward's Grammar School, Chelmsford.

Mus ic runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the Greed of the sailors who are supposed to be bringing him back to Corinth, and they threaten to kill him.  They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At The End of his song, he jumps overboard, and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.  

The idea of being rescued by a music-loving dolphin is very appealing.  In Robert Graves’ account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after his rescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra.

It seems natural to sing a story that has singing at its heart.  When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create an atmosphere of mystery for the arrival of the dolphins, represented by children’s voices.  There would be one solo voice: Arion, the marvellous singer.  Andrew Fardell, the conductor who was advisor to this commission, had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor.  I thought the magical, otherworldly quality of this voice would help to convey the extraordinary effect Arion’s singing had on all who heard it. 

- Jonathan Dove

(A Polyrhythmic Journey in 6/8 Time). By Alan Dworsky. For Keyboard (Piano). Methods. Dancing Hand. World Music. Intermediate-Advanced. Book/CD Set. 96 pages. Published by Dancing Hands