Chamber Music Bass Clarinet, Clarinet, Flute, Percussion, Piano, Violin, Violoncello, alto Flute

SKU: PR.11441930S

Composed by Stacy Garrop. Full score. With Standard notation. 40 pages. Duration 13:15. Theodore Presser Company #114-41930S. Published by Theodore Presser Company (PR.11441930S).

UPC: 680160673537. 9 x 12 inches.

Written during a residence at an artist community in the isolation of Wyoming, Postcards from Wyoming is an impression of the wilderness and beauty of the surrounding landscape and its inhabitants. Written for Pierre ensemble with percussion, Postcards includes High Plains Prairie (a harsh landscape which reveals glimpses of beauty upon closer examination), Call of the Wild (animals from snakes to horses and cows populate the environment), and The Solitude of Stars (capturing the infinite awe of the night sky).
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work almost continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. Postcards from Wyoming presents three glimpses of what I found to be the most striking aspects of my residence. The first movement, High Plains Prairie, represents the conundrum that is a high elevation landscape: from afar, the eye sees little else than an unending and threadbare horizon. But as one inspects the land up close, the prairie bursts with color provided by sagebrush, grasses, insects, and creeks. The second movement, Call of the Wild, is a tribute to the wide range of animals that reside in the area. Deer, turkeys, and rabbits frequently passed outside of my studio window; cows and sheep lived in fields close by. Snakes, raccoons, and field mice also made guest appearances. While I'm thankful that I didn't see any predators (such as wolves), I became increasingly aware of the wildness of the animal population that surrounded my studio. The Solitude of Stars, the third and final movement, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. Postcards from Wyoming was commissioned by the 2016 Utah Arts Festival. -S.G.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work almost continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife.Postcards from Wyoming presents three glimpses of what I found to be the most striking aspects of my residence. The first movement, High Plains Prairie, represents the conundrum that is a high elevation landscape: from afar, the eye sees little else than an unending and threadbare horizon. But as one inspects the land up close, the prairie bursts with color provided by sagebrush, grasses, insects, and creeks. The second movement, Call of the Wild, is a tribute to the wide range of animals that reside in the area. Deer, turkeys, and rabbits frequently passed outside of my studio window; cows and sheep lived in fields close by. Snakes, raccoons, and field mice also made guest appearances. While I’m thankful that I didn’t see any predators (such as wolves), I became increasingly aware of the wildness of the animal population that surrounded my studio. The Solitude of Stars, the third and final movement, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie.Postcards from Wyoming was commissioned by the 2016 Utah Arts Festival.-S.G.

Chamber Music Bass Clarinet, Clarinet, Flute, Percussion, Piano, Violin, Violoncello, alto Flute

SKU: PR.114419300

Composed by Stacy Garrop. Set of Score and Parts. With Standard notation. 40+12+12+12+12+12+20 pages. Duration 13:15. Theodore Presser Company #114-41930. Published by Theodore Presser Company (PR.114419300).

UPC: 680160673513. 9 x 12 inches.

Written during a residence at an artist community in the isolation of Wyoming, Postcards from Wyoming is an impression of the wilderness and beauty of the surrounding landscape and its inhabitants. Written for Pierre ensemble with percussion, Postcards includes High Plains Prairie (a harsh landscape which reveals glimpses of beauty upon closer examination), Call of the Wild (animals from snakes to horses and cows populate the environment), and The Solitude of Stars (capturing the infinite awe of the night sky).
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work almost continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife. Postcards from Wyoming presents three glimpses of what I found to be the most striking aspects of my residence. The first movement, High Plains Prairie, represents the conundrum that is a high elevation landscape: from afar, the eye sees little else than an unending and threadbare horizon. But as one inspects the land up close, the prairie bursts with color provided by sagebrush, grasses, insects, and creeks. The second movement, Call of the Wild, is a tribute to the wide range of animals that reside in the area. Deer, turkeys, and rabbits frequently passed outside of my studio window; cows and sheep lived in fields close by. Snakes, raccoons, and field mice also made guest appearances. While I'm thankful that I didn't see any predators (such as wolves), I became increasingly aware of the wildness of the animal population that surrounded my studio. The Solitude of Stars, the third and final movement, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie. Postcards from Wyoming was commissioned by the 2016 Utah Arts Festival. -S.G.
In 2014, I enjoyed a wonderful residence at the Ucross Foundation in Clearmont, Wyoming. Ucross is an artist colony that gives writers, composers, and visual artists the gift of time, space, and support to follow their artistic pursuits; we are provided with studio space, housing, and meals so that we can work almost continuously on our projects. I have been in residence at numerous artist colonies; however, nothing in my previous experiences prepared me for living in such isolated, wild country. Ucross is situated on a 20,000-acre cattle ranch at nearly 4,000 feet in elevation with fewer than 150 people living within the town. But what Clearmont lacks in population, it makes up for abundantly and spectacularly in wilderness and wildlife.Postcards from Wyoming presents three glimpses of what I found to be the most striking aspects of my residence. The first movement, High Plains Prairie, represents the conundrum that is a high elevation landscape: from afar, the eye sees little else than an unending and threadbare horizon. But as one inspects the land up close, the prairie bursts with color provided by sagebrush, grasses, insects, and creeks. The second movement, Call of the Wild, is a tribute to the wide range of animals that reside in the area. Deer, turkeys, and rabbits frequently passed outside of my studio window; cows and sheep lived in fields close by. Snakes, raccoons, and field mice also made guest appearances. While I’m thankful that I didn’t see any predators (such as wolves), I became increasingly aware of the wildness of the animal population that surrounded my studio. The Solitude of Stars, the third and final movement, was inspired by the stunning nightly display of the heavens above. Without city lights dimming the night sky, countless stars shone brightly over the vast expanse of the prairie.Postcards from Wyoming was commissioned by the 2016 Utah Arts Festival.-S.G.

Chamber Music Piano

SKU: PR.140401320

Composed by Eubie Blake. Edited by Lara Downes. Arranged by Jeremy Siskind. Sws. Score. 8 pages. Duration 3:45. Theodore Presser Company #140-40132. Published by Theodore Presser Company (PR.140401320).

ISBN 9781491134177. UPC: 680160684274. 9 x 12 inches. Key: F major.

LOVE WILL FIND A WAY is one of the great hits of the 1920s – an era of remarkable cultural growth giving rise to “The Roaring '20s,” “The Harlem Renaissance,” and a fun-loving society known for the Charleston dance craze and the surge of jazz into the mainstream of American music. A song from Shuffle Along, the first all-Black Broadway musical, LOVE WILL FIND A WAY has been arranged by pianist Jeremy Siskind especially for Lara Downes’ recording that launches the Rising Sun series.
According to Langston Hughes, Eubie Blake’s 1921 Shuffle Along was the real start of the Harlem Renaissance. In Hughes’ words: “Everybody was in the audience, including me. It gave just the proper push, a pre-Charleston kick, to that Negro vogue of the '20s that spread to books, African sculpture, music, and dancing.”As Broadway’s first all-Black hit musical, with an all-star cast including Paul Robeson and a young Josephine Baker, Shuffle Along ran for an unprecedented 504 performances in New York, then toured nationally for three years as the first Black musical to play in white theaters across the United States. The show’s appeal to a multi-racial audience, and its integration of the jazz and Broadway communities, not only changed the history of the American musical theater, but made important strides forward in American race relations.Love Will Find a Way is one of the show’s most popular tunes. This intimate, pensive arrangement by Jeremy Siskind celebrates the song’s centenary by making it a love song for our own time as much as its own – a reminder that no matter how dark the path or how gray the skies, love will always find a way.

Chamber Music Cello, Piano

SKU: PR.114418630

Composed by Stacy Garrop. Set of Score and Parts. With Standard notation. 24+8 pages. Duration 13 minutes. Theodore Presser Company #114-41863. Published by Theodore Presser Company (PR.114418630).

ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.

The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fatale”), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.
In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black film”). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fatale”), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.

Opera Piano, solo Voices

SKU: PR.411411630

Opera in Two Acts. Composed by Ricky Ian Gordon. Piano Reduction Score. 438 pages. Duration 2 minutes, 30 seconds. Theodore Presser Company #411-41163. Published by Theodore Presser Company (PR.411411630).

ISBN 9781491137635. UPC: 680160691081. English. Intimate Apparel by Lynn Nottage.

Originally an award-winning play, Lynn Nottage’s INTIMATE APPAREL was inspired by her great-grandmother’s life in New York in the early 20th century. The Pulitzer-laureate also created the libretto for Ricky Ian Gordon’s grand-yet-intimate opera whose complete instrumentation is two pianos. The story follows the life of a young, single seamstress who has recently emigrated from Barbados, the fascinating cast of characters in her life, and her socially-unacceptable feelings of affection for a Jewish fabric salesman. The premiere production of this 2½-hour drama was televised nationally from Lincoln Center on PBS’s “Great Performances.”.
Inti mate Apparel began with an old photograph that I found haphazardly wedged between the pages of a Family Circle magazine. I was helping my grandmother, who’d developed debilitating senile dementia, move from her longtime home in Crown Heights, Brooklyn. In the midst of a pile of weathered magazines I discovered a black and white passport photograph of my grandmother Waple and her younger sister Eurita sitting on their mother’s lap. It was the first time I’d ever seen an image of my great-grandmother Ethel, a striking woman with high West African cheekbones and a gentle intensity. She had been a seamstress from Barbados, who at the age of 18 arrived alone in New York City at the dawn of the Twentieth Century. The image invited a thousand questions, none that could be answered by the living, and it led me on a journey to piece together the history of my great-grandmother Ethel, a woman who was basically a stranger to me. The only clue that I had about Ethel, was a story that my grandmother had once told me about her mother corresponding with a man laboring on the Panama Canal, who would eventually become her husband. I was fascinated by this story, which served as the inspiration for INTIMATE APPAREL.As I began my research for INTIMATE APPAREL at the New York Public Library, I discovered that lives of Black working women in the early 1900s were woefully absent from the archive. So, I found myself perusing help wanted listings, boarding house and clothing advertisements, looking for any sign of women like my great-grandmother on the printed page. As I was doing so, I began to find the characters that would populate the world of INTIMATE APPAREL; Esther the lonely seamstress, Mrs. Dickson the proprietress of the boardinghouse for Black women, Mr. Marks the Jewish fabric salesman on the Lower Eastside, Mrs. Van Buren the wealthy white socialite on the Upper Eastside, Mayme the sex worker in the tenderloin, and George the laborer toiling on the Panama Canal. As I was conjuring the characters, I realized that I was interested in the unexpected intersections between class, race, and gender at the turn of the Twentieth Century, and what happens when people across cultural and economic divides are thrust into spaces of intimacy.INTIMATE APPAREL began its life as a popular play, but it was the brilliant composer Ricky Ian Gordon who invited me to consider adapting it into an opera. He saw something epic and expansive in the life of Esther that he felt demanded to be sung, and with his loving guidance I was able to write my first libretto. It took me several tries to figure out how to wrestle my play into a form that was new to me. As a playwright, I kept wanting to maintain absolute control of the narrative. But, it was Ricky’s words that freed me creatively to find my way into the libretto. He said, “You’re not trusting my music as a narrative tool; I can say “I love you” without any words, with just music. So, allow me to be your collaborator on the storytelling.” And once he said that, we found INTIMATE APPAREL the opera together.

Chamber Music harp

SKU: PR.114417670

For Harp. Composed by Carter Pann. Sws. Contemporary. Solo part. With Standard notation. Composed 2010. 8 pages. Duration 4:30. Theodore Presser Company #114-41767. Published by Theodore Presser Company (PR.114417670).

ISBN 9781491107973. UPC: 680160636228. 9x12 inches.

The inscription above Carter Pann's Emerald's on Artemis reads: A music box for Emerald Weber (born 18 June, 2010) on Morgan Black's harp Artemis. The title of this 2010 composition is a bit cryptic, but Artemis is the given name of harpist Morgan Black's instrument. The music is both out-and-out tender and exuberant, clearly celebrating the birth of Emerald, the first daughter of one of Pann's dear childhood friends. For advanced harpists.________________ _______________________Te xt on the scanned back cover:Composer/pianist Carter Pann (2016 Pulitzer Prize Finalist in Music) has written for and worked with musicians around the world, garnering performances by ensembles such as the London Symphony and City of Birmingham Symphony, the Tchaikovsky Symphony in Moscow, many radio symphonies around Europe, the Seattle Symphony, National Repertory Orchestra, the youth orchestras of New York and Chicago, and countless wind ensembles.He has written for Richard Stoltzman, the Antares Ensemble, the Capitol Saxophone Quartet, the West Coast Wind Quintet, the River Oaks Chamber Ensemble, and many concert pianists. His String Quartet No. 2 “Operas” was commissioned by the Takács Quartet. Pann has been awarded a Charles Ives Fellowship, a Masterprize seat in London, and many ASCAP awards over the years. His numerous CDs encompass solo, vocal, chamber, orchestral, and wind music, and have received two Grammy nominations. He currently teaches at the University of Colorado in Boulder.

Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass

SKU: PR.41641543L

For String Orchestra. Composed by Narong Prangcharoen. Large Score. 12 pages. Duration 6 minutes. Theodore Presser Company #416-41543L. Published by Theodore Presser Company (PR.41641543L).

UPC: 680160632343.

Tears of Dust is composed in memory of Princess Galyani Vadhana who passed away on 2 January 2008. It was a great lost for Thailand as well as the music society for the entire country. Her Royal Highness was interested in all types of music and drama, especially classical music. After she passed away, there was a mourning period of 100 days and the whole nation would wear black for 15 days. Tear of Dust is commissioned by the Bangkok Symphony Orchestra for the memorial concert. She was the patron of the and a great supporter of the Bangkok Symphony Orchestra. Her presence on the classical music scene was ubiquitous. The loss of Princess Galyani is greatly impact to the Classical Music in Thailand. It is a metaphor to compare the people with the dust because dust came from many various sources but sharing the same element as a dry object. In this case even a dry smallest dust cries for the lost of Her Royal Highness.
Tears of Dust is composed in memory of Princess Galyani Vadhana who passed away on 2 January 2008. It was a great lost for Thailand as well as the music society for the entire country. Her Royal Highness was interested in all types of music and drama, especially classical music. After she passed away, there was a mourning period of 100 days and the whole nation would wear black for 15 days. Tear of Dust is commissioned by the Bangkok Symphony Orchestra for the memorial concert. She was the patron of theand a great supporter of the Bangkok Symphony Orchestra. Her presence on the classical music scene was ubiquitous. The loss of Princess Galyani is greatly impact to the Classical Music in Thailand. It is a metaphor to compare the people with the dust because dust came from many various sources but sharing the same element as a dry object. In this case even a dry smallest dust cries for the lost of Her Royal Highness.

Chamber Music Mezzo-soprano voice, Piano, baritone voice, soprano voice, tenor voice

SKU: PR.411411930

Composed by Nkeiru Okoye. Vocal Score. 60 pages. Duration 25 minutes. Theodore Presser Company #411-41193. Published by Theodore Presser Company (PR.411411930).

UPC: 680160687589.

This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre'r Rabbit and his nemesis Bre'r Fox in Briar Patch, The Pot of Sense, and Madame Partridge and her Eggs. Okoye's music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore's libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of Briar Patch will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences. NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character Bre'r Rabbit is actually the trickster, Anansi the Spider, of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris' Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement.
This rebooted triptych of short operas is family friendly and full of fun, while paying tribute to the African tradition of storytelling for all ages. Sister Sparrow, Sister Robin and Madame Partridge retell the antics of Bre’r Rabbit and his nemesis Bre’r Fox in “Briar Patch,” “The Pot of Sense,” and “Madame Partridge and her Eggs.” Okoye’s music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Combined with Moore’s libretto, the result brings to mind a meeting Langston Hughes and Gilbert and Sullivan on steroids, en route to the Black church. A concert version of “Briar Patch” will be available for full orchestra with five soloists. Libretto by Carman Moore. The music blends African American musical styles of jazz, blues, and gospel with contemporary concert music sounds. Intended for all audiences.NOTE: Each story from the Tales from the Briar Patch is derived from African folk tales. The character “Bre’r Rabbit” is actually the trickster, “Anansi the Spider,” of ancient Ghanaian folklore. While many people associate him and his friends with Joel Chandler Harris’ Uncle Remus stories, the stories predate Harris and hist stories. The creators updated the language, using all animals to portray the story, with the trio of spirited birds narrating. Producers find that the works rate well with all audiences and are especially useful for community discussions and engagement.

Chamber Music Trumpet Trio

SKU: PR.114422440

Composed by Adolphus Hailstork. Set of Score and Parts. 8+4+4+4 pages. Duration 4 minutes. Theodore Presser Company #114-42244. Published by Theodore Presser Company (PR.114422440).

ISBN 9781491135020. UPC: 680160686087.

Hails tork’s title, L’Blatinx, is a mixture of the terms Black and Latinx, and a key to the flavor of this unique work, full of blues, salsa, spicy dissonance, and a mixture of steady grooves with surprises. The work is scored for a trio of C Trumpets, along with footstomping inspired by Black traditions from New Orleans, has a Mariachi feel, and uses Latin rhythms. L’Blatinx is a 4-minute thriller equally appropriate for formal concerts and special occasions; extra percussion is welcome when available. .

Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass

SKU: PR.416415430

For String Orchestra. Composed by Narong Prangcharoen. Full score. 11 pages. Duration 6 minutes. Theodore Presser Company #416-41543. Published by Theodore Presser Company (PR.416415430).

UPC: 680160632336.

Tears of Dust is composed in memory of Princess Galyani Vadhana who passed away on 2 January 2008. It was a great lost for Thailand as well as the music society for the entire country. Her Royal Highness was interested in all types of music and drama, especially classical music. After she passed away, there was a mourning period of 100 days and the whole nation would wear black for 15 days. Tear of Dust is commissioned by the Bangkok Symphony Orchestra for the memorial concert. She was the patron of the and a great supporter of the Bangkok Symphony Orchestra. Her presence on the classical music scene was ubiquitous. The loss of Princess Galyani is greatly impact to the Classical Music in Thailand. It is a metaphor to compare the people with the dust because dust came from many various sources but sharing the same element as a dry object. In this case even a dry smallest dust cries for the lost of Her Royal Highness.
Tears of Dust is composed in memory of Princess Galyani Vadhana who passed away on 2 January 2008. It was a great lost for Thailand as well as the music society for the entire country. Her Royal Highness was interested in all types of music and drama, especially classical music. After she passed away, there was a mourning period of 100 days and the whole nation would wear black for 15 days. Tear of Dust is commissioned by the Bangkok Symphony Orchestra for the memorial concert. She was the patron of theand a great supporter of the Bangkok Symphony Orchestra. Her presence on the classical music scene was ubiquitous. The loss of Princess Galyani is greatly impact to the Classical Music in Thailand. It is a metaphor to compare the people with the dust because dust came from many various sources but sharing the same element as a dry object. In this case even a dry smallest dust cries for the lost of Her Royal Highness.

Orchestra 3 Bassoons, 3 Clarinets in A (3rd also clarinet piccolo in Eb), 3 Oboes (3rd also English horn, 3 Trom, 3 Trumpets in C, 4 Flutes (3rd and 4th also 2nd and 1st piccolos, 6 Horns in F, Bass Clarinet in Bb, Contrabassoon, Trumpet Piccolo in D, respectively)

SKU: PR.466000010

Composed by Easley Blackwood. This edition: Small Score. Contemporary. Full score. With Standard notation. Opus 3. 124 pages. Duration 29 minutes. Theodore Presser Company #466-00001. Published by Theodore Presser Company (PR.466000010).

UPC: 680160637164. 9x12 inches.

If the 2nd flute has no low B-natural, C-natural be played instead. (3rd movement measure 235 page 91) The part for the bass clarinet is written entirely in the treble clef a major ninth above the actual pitch. Horn parts written in the bass clef sound a fourth higher, never a fifth lower. If the special percussion instruments are not availalbe, the following substitutions may be made: The E-natural for the antique cymbals may be played on a glockenspiel (not the celesta); and The Bb for the small timpano on a side drum with snares silenced, struck with a soft felt stick. Several contrabasses must be provided with means for producing the extra low tones.

Chamber Music flute, piano

SKU: PR.114416460

For Flute and Piano. Composed by Thaddeus Kozuch. Contemporary. Set of Score and Parts. With Standard notation. Composed 1937. 4+1 pages. Duration 3 minutes. Theodore Presser Company #114-41646. Published by Theodore Presser Company (PR.114416460).

ISBN 9781598067811. UPC: 680160620616. 9x12 inches.

POEM for Flute and PianoKozuch’s POEM is a plaintive elegy, perfect for memorial concerts, in religious services, or as a lyric interlude in recital. Although composed with piano accompaniment, the music is also very effective in performance with organ. Thaddeus Kozuch (1913-1991) was a Chicago-based pianist, composer, and professor at DePaul University and Northwestern University. His beautiful POEM was composed originally for violin and piano in 1937 for his wife-to-be, Jacqueline Frye. He revised POEM for flute and piano in 1988 but the work was discovered only recently in a piano bench by the composer’s daughter, flutist Ann Fairbanks.Although the final pencil manuscript is musically complete, it lacks dynamics, and this publication presents the music as the composer left it.The following performance suggestions are provided by Ann Fairbanks:Many nuances of the work may be left to the discretion of the performer. There are quite a few notes that may be slurred, such as sets of eighth notes or triplet-eighths; if notes are articulated as written, the tonguing should be legato.Dynamics for both flute and piano could be as follows: begin the work p, then crescendo to f in bars 6-7. Decrescendo in 10-11 to a p in bar 12. The most intense section (bars 16-32) should be played with energy and full sonority, including a crescendo in 26 to fin 27. The conclusion, beginning at bar 42, should be played p, with the last measures performed quietly.

String quartet String Quartet

SKU: PR.11440309A

Composed by Easley Blackwood. Set of parts. With Standard notation. Opus 4. 64 pages. Duration 15 minutes. Theodore Presser Company #114-40309A. Published by Theodore Presser Company (PR.11440309A).

UPC: 680160006076. 8.5 x 11 inches.

Orchestra 3 Bassoons, 3 Clarinets in A (3rd also clarinet piccolo in Eb), 3 Oboes (3rd also English horn, 3 Trom, 3 Trumpets in C, 4 Flutes (3rd and 4th also 2nd and 1st piccolos, 6 Horns in F, Bass Clarinet in Bb, Contrabassoon, Trumpet Piccolo in D, respectively)

SKU: PR.46600001L

Composed by Easley Blackwood. This edition: Large Score. Contemporary. Large Score. With Standard notation. Opus 3. Duration 29 minutes. Theodore Presser Company #466-00001L. Published by Theodore Presser Company (PR.46600001L).

UPC: 680160637171. 11x17 inches.

If the 2nd flute has no low B-natural, C-natural be played instead. (3rd movement measure 235 page 91) The part for the bass clarinet is written entirely in the treble clef a major ninth above the actual pitch. Horn parts written in the bass clef sound a fourth higher, never a fifth lower. If the special percussion instruments are not availalbe, the following substitutions may be made: The E-natural for the antique cymbals may be played on a glockenspiel (not the celesta); and The Bb for the small timpano on a side drum with snares silenced, struck with a soft felt stick. Several contrabasses must be provided with means for producing the extra low tones.

Orchestra

SKU: PR.11641867L

Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L).

UPC: 680160683215.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Chamber Music Percussion 1, Percussion 2, Percussion 3, Percussion 4, Percussion 5, Percussion 6, Percussion 7, Percussion 8

SKU: PR.114409090

Composed by Robert Maggio. Spiral and Saddle. Set of Score and Parts. With Standard notation. Composed 1996. 58+12+12+9+10+11+11+8+10 pages. Duration 15 minutes. Theodore Presser Company #114-40909. Published by Theodore Presser Company (PR.114409090).

UPC: 680160013807. 8.5 x 11 inches.

Each movement has two or three sections which get progressively faster by passing through a metric (or pulse) modulation, like a boat moving through a lock. At these moments of the piece, there is also a color/texture shift from one quartet to the other. The three movements essentially present the same rhythmic theme in different colors. The first movement utilizes only indefinite pitched metal and wood instruments. The second movement presents a repetition and extension of the rhythmic in the first movement using definite pitched metal and wood instruments. In this way, the first two movements present the aural equivalent of non-representational (indifinite pitch) and representational imagery (definite pitch) in visual art. Or, to use another visual metaphor, this process of recasting the same material without and with definite pitches is akin to color-izing an image that was originally seen in black and white. The third movement repeats and extends the music of the second, returning to indefinite pitched instruments, all eight players on skins. Much of the writing is imitative, canonic, and even fugal at times; it also includes passages of call and response, and hocketing. The main theme is simple and elemental, and the predominant rhythmic patterns are additive, irregular groupings.

Chamber Music Piano

SKU: PR.140401310

Composed by Nora Holt. Edited by Lara Downes. Sws. Score. 8 pages. Duration 2 minutes. Theodore Presser Company #140-40131. Published by Theodore Presser Company (PR.140401310).

ISBN 9781491134153. UPC: 680160684250. 9 x 12 inches. Key: G major.

NORA’ S DANCE is a jazz-influenced rag from 1921, and among the only surviving compositions by Nora Douglas Holt. A charming and exciting work rejuvenated by Lara Downes’ 2021 recording for the Rising Sun label, the rag is both a fun 2 minutes for pianists and audiences, and also a fascinating time capsule. Composed several years after Scott Joplin’s death, and several years before the Charleston pervaded popular music, NORA’S DANCE blossoms with the energy and jazz harmony starting to emerge as The Roaring 20’s, using ragtime and stride as the seed for pianistic style.
My own life in music has been driven by a quest to find strong female role models, trails to follow, shoulders to stand on. In Nora Douglas Holt, I find an inspiring example of creativity, independence, and resilience – with a dash of troublemaking. She was a free spirit, a force of nature, and she lived a fascinating and eventful life on her own terms. She reinvented herself through five marriages and at least as many careers. From her beginnings at the piano at age four, she explored many avenues of musical expression – performing, composing, music journalism, broadcasting, teaching – all with inventiveness, style, and zeal.She made the most of the Roaring ’20s, as an artist, socialite, jetsetter, muse, and patroness of the Harlem Renaissance. In 1921 she started an independent arts journal called “Music and Poetry,” where the charming piano solo Nora’s Dance was first published. I think the piece captures beautifully, in a little under 2 minutes, the energy and excitement of those heady years.In 1926, Nora left New York to travel the world, performing in nightclubs throughout Europe and Asia. She put her belongings in storage before she left, and when she came back she discovered that many of her things had been stolen, including more than 200 of her musical compositions. She never composed again.When the Depression hit, she moved out to Los Angeles, where she studied music education at USC, taught music in the LA public schools, and opened her own beauty salon. She returned to New York in the ’40s and worked as a music critic for several major newspapers, then launched yet another career, this time in broadcasting. Her popular radio concert series “Nora Holt’s Concert Showcase” broadcast to New York’s classical music audience, with a focus on Black composers and performers.Ahead of her time, larger than life, full of ideas…. I am so pleased to introduce you to the feisty and free spirited Nora Douglas Holt!

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.114419980

Composed by Stacy Garrop. Sws. Set of Score and Parts. 32+16+16+16+16+16 pages. Duration 16 minutes. Theodore Presser Company #114-41998. Published by Theodore Presser Company (PR.114419980).

UPC: 680160681723. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

Choral Mezzo-soprano voice, SATB chorus

SKU: PR.312418640

Composed by Adolphus Hailstork. -. Goin' Home, Songs for sister Lisa. Premiere: Portsmouth, VA. Choral. Performance Score. With Standard notation. Composed 2010. 8 pages. Duration 5 minutes. Theodore Presser Company #312-41864. Published by Theodore Presser Company (PR.312418640).

ISBN 9781598064100. UPC: 680160605804. Octavo inches. English. Text: Spiritual. Spiritual.

From the blog of Opera Roanoke: The four spirituals are densely packed portraits resonant with the black church tradition... Weaving together a fabric of history and presence, pain and struggle, exile and homecoming, Goin’ Home is an engaging musical canvas whose complex palette is challenging as it is rewarding. It is a resounding affirmation of a life whose impact cannot be measured, and continues to be felt..

Chamber Music Piano

SKU: PR.140401340

Sketches for Piano. Composed by Harry T. Burleigh. Edited by Lara Downes. 16 pages. Duration 18 minutes. Theodore Presser Company #140-40134. Published by Theodore Presser Company (PR.140401340).

ISBN 9781491134450. UPC: 680160684953.

Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.
In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland” that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.