Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in F, Piano, Organ (or digital keyboard), Double String Quartet, Double Bass) - Beginning

SKU: MN.56-0106

Composed by Howard Goodall. Lent, Holy Week, Triduum/Three Days, Tenebrae, 21st Century. Score & instrument parts. Duration 6 minutes, 47 seconds. MorningStar Music Publishers #56-0106. Published by MorningStar Music Publishers (MN.56-0106).

UPC: 688670221231. English, Latin.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This movement, scored for soprano solo, SATB choir and piano, expresses the unimaginable pain felt by a mother seeing her child torn away from her at a slave auction. To this harrowing account are appended the words of William Wilberforce, spoken in the House of Commons on 18th April 1791, “You may choose to look the other way but you can never say again that you did not know.” Duration 6:47.

Soprano voice solo, baritone voice solo, optional tenor voice solo, SATB choir, and piano - Intermediate

SKU: MN.56-0058

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 8 minutes, 59 seconds. MorningStar Music Publishers #56-0058. Published by MorningStar Music Publishers (MN.56-0058).

UPC: 688670220616. Latin.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This final movement of the Requiem is set for SATB chorus and two or three soloists. Lilting triads begin the movement. The “Lux Aeterna” is set for soloists with choir accompaniment. There is a restatement of “Lead, Kindly Light” from movement 4, transformed a bit, for soloist with choir accompanying, then the choir sings this material in unison in a powerful, climactic passage. “Requiem aeternum” from the first movement is heard again here with a gently pulsing accompaniment, and the work ends quietly “Luceat eis.” Duration 8:59.

Band Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, Contrabassoon, Euphonium, Flugelhorn, Flute 1, Flute 2, Horn 1, Horn 2, Percussion, String Bass, Timpani, Trombone, Trumpet, Tuba, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.145400360

Composed by Ellen Taaffe Zwilich. Set of Score and Parts. Duration 11 minutes, 30 seconds. Merion Music #145-40036. Published by Merion Music (PR.145400360).

ISBN 9781491137604. UPC: 680160691050.

A major addition to the saxophone concerto repertoire, Zwilich’s three-movement work is inspired by her early experience playing in big bands, along with a love of rich textures and driving rhythms interrupted by striking silences. The centerpiece slow movement is scored for only the soloist and the ensemble’s sax section, with all other players tacet. A large-size full score, and a solo part with piano, are available separately.

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

New Collected Works of Dmitri Shostakovich - Volumes 85 and 86. Composed by Dmitri Shostakovich (1906-1975). DSCH. Hardcover. 164 pages. Published by DSCH (HL.50600865).

Eb Bass & Piano (Organ) + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-33859

Jingle Bells / Deep River / Clementine / Minuet For Anna Magdanena / Rio By Night / Liebestraum / Pie Jesu / Chorus From Nabucco / Two Dances From The Fairy Queen / Celtic Lament. Composed by John G. Mortimer. Eb Bass & CD Playback (Play Along). 10 Titles. Score and parts. Duration 19'51. Editions Marc Reift #EMR 33859. Published by Editions Marc Reift (MA.EMR-33859).

Possible instrumentations:

Eb Bass & CD Play Back / Play Along
Eb Bass & Organ (+ Play Back / Play Along CD optional)
Eb Bass & Piano (+ Play Back / Play Along CD optional).

Bb Bass & Piano (Organ) + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-33823

Jingle Bells / Deep River / Clementine / Minuet For Anna Magdanena / Rio By Night / Liebestraum / Pie Jesu / Chorus From Nabucco / Two Dances From The Fairy Queen / Celtic Lament. Composed by John G. Mortimer. Bb Bass & CD Playback (Play Along). 10 Titles. Score and parts. Duration 19'51. Editions Marc Reift #EMR 33823. Published by Editions Marc Reift (MA.EMR-33823).

Possible instrumentations:

Bb Bass & CD Play Back / Play Along
Bb Bass & Organ (+ Play Back / Play Along CD optional)
Bb Bass & Piano (+ Play Back / Play Along CD optional).

By Sara Groves. Sacred. Print Music Single (Vocal Solo (Medium Voice)). Published by Hope Publishing Company.

(Viola Feature). By Randy Sabien. Orchestra. For string. Part(s); Score; String Orchestra. Highland String Alternatives. Jazz. Grade 3. 124 pages. Published by Alfred Music Publishing

Full Score. By Dmitri Shostakovich. (score). Choral. Size 9x12 inches. Published by Hal Leonard.

Mixed choir (SATB) with soprano voice solo and piano - difficult

SKU: HL.49005944

Nach Texten von Andreas Gryphius. Composed by Karl Amadeus Hartmann. Sheet music. Edition Schott. Classical. Score. Composed 1936. 60 pages. Duration 45'. Schott Music #ED 6006. Published by Schott Music (HL.49005944).

ISBN 9790001064378. German.

'The towers are burning, the church has been ransacked, the town hall lies in ruins, the strong have been hacked to death, the virgins defiled, and wherever we look we see fire, plague and death which breaks both heart and spirit.'Karl Amadeus Hartmann uses bold colours to depict the image of the Thirty Years' War, the consequence of religious strife throughout Europe. The composer's only choral work sets poetry by Andreas Gryphius and culminates in a muted call for peace. Hartmann undertook a revision of the music in his cantata Lamento for soprano and piano in 1955.

Opera Piano, solo Voices

SKU: PR.441410300

Composed by Lauren Bernofsky. Score. With Standard notation. 56 pages. Duration 30 minutes. Theodore Presser Company #441-41030. Published by Theodore Presser Company (PR.441410300).

ISBN 9781491111512. UPC: 680160667543. 9 x 12 inches. Lauren Bernofsky.

RUFUS AND RITA is an adorable, light-hearted opera about a girl and her zany dog, commissionedby Reimagining Opera for Kids for in-school performances. The libretto features several forks in theroad where the audience votes on what should happen next. The opera is scored for four singersof any voice range, plus piano; there is also an expanded version for chamber ensemble.
RUFUS AND RITA is a light-hearted opera for young audiences, scored for fouradult singers of any voice type. Singers may adjust octaves as necessary, soany part may be sung by a male or female voice.A chamber version of the accompaniment is also available from TheodorePresser Company (441-41031), scored for a flexible-instrumentation ensembleof piano with any two treble instruments and one bass instrument.* * *RUFUS AND RITA contains many improvised elements, from spoken dialogueto improvised vocal parts. Instructions are given throughout the score. Theduration is approximately 30 minutes, depending on the length of theimprovised sections.The libretto is flexible – at several points in the show, the audience votes onwhat happens next, from choices given by a narrator. Some musical numbers,as well as props and set accessories, are determined by the choice. Forinstance, if the audience votes for Rufus to have found a dog biscuit, then 2a.The Dog Treat is performed (and 2b. Fido's Lament is omitted.) The pianistmay serve as the narrator, who announces what is being voted on and talliesthe vote by observing a show of hands.* * *Thanks to Mary Alice Cox, D.V.M., for her expertise regarding the medical careof Rufus in “The Cure” and to Susan Archibald for her editorial comments.Thanks, also, to Felissa Elfenbein for permission to use her zucchini dog treatrecipe.My everlasting thanks to my editor, Daniel Dorff, for his faith in my music.Finally, my deepest gratitude to Kim Carballo and the cast of ReimaginingOpera for Kids, who helped me develop the opera into its final version.

Soprano voice solo, SATB choir, and piano (E-flat Soprano saxophone, 2 Horns in F, Piano, Organ (or digital keyboard), Double String Quartet, Double Bass) - Early Intermediate

SKU: MN.56-0108

Composed by Howard Goodall. Lent, Holy Week, Triduum/Three Days, Tenebrae, 21st Century. Score & instrument parts. Duration 6 minutes, 19 seconds. MorningStar Music Publishers #56-0108. Published by MorningStar Music Publishers (MN.56-0108).

UPC: 688670221255. English, Latin. Psalms 142; Jeremiah 3:48, 52, 56.

Invictus: A Passion addresses one of the world’s most powerful stories through the lens of the modern world. The texts, written or inspired by women, describe not only human suffering and persecution but also the human capacity for love and humility in the face of tyranny. Composer Howard Goodall is uniquely suited to bring these texts to life with music of emotional clarity and sweeping force. This excerpt is scored for soprano solo, SATB choir and piano. This fourth movement of the larger work is inspired by the extraordinary story of Irena Sendler née Krzyżanowska, a Polish nurse and head of Żegota, the Polish Council to Aid Jews in the Second World War, whose personal interventions saved the lives of approximately 2,500 Jewish children in the Warsaw Ghetto, smuggling them to safety, acts of humanitarian bravery that eventually caused her arrest and torture by the Gestapo. She is honoured as Righteous Amongst the Nations at Yad Vashem, Jerusalem. The Latin texts of this movement are taken from the Book of Lamentations (“My eye hath run down with streams of water, for the destruction of the daughter of my people. My enemies have chased me and caught me like a bird, without cause…”) and from Psalm 142, the Old Testament being the meeting-point of Sendler’s Catholicism and the Jewish tradition of those whose lives she saved. Duration 6:19.

Soprano voice solo, tenor voice or baritone voice solo, ATB choir, and piano - Intermediate

SKU: MN.56-0054

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Instrumental part. Duration 5 minutes, 36 seconds. MorningStar Music Publishers #56-0054. Published by MorningStar Music Publishers (MN.56-0054).

UPC: 688670220579. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement has no soprano part, it is soloist above and ATB below, giving a rich, dark quality to the music. The tenors and basses (divisi) begin this movement, declaiming “Dies irae, dies illa.” Two soloists begin in the “Flanders fields” text above. There is an option for three soloists as the piece evolves. (Soprano, tenor and baritone, the composer gives some options for this.) Soon the choir takes up the poem, yet the Latin text occasionally appears and continues, moving toward a climax on the text “We are the Dead, Short days ago We lived.” As the music descends from the high point, the English poem continues, with the choir very softly commenting “Dies irae” as the movement ends. Duration 5:36.

Soprano voice solo, SATB choir, and piano - Intermediate

SKU: MN.56-0055

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 4 minutes, 4 seconds. MorningStar Music Publishers #56-0055. Published by MorningStar Music Publishers (MN.56-0055).

UPC: 688670220586. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. For soprano solo and SATB choir, this movement begins with the choir on the English text by Phineas Fletcher (1633). A 32-measure soprano solo follows, which covers the majority of the English text. The soloist then begins the “Recordare,� �¢â‚¬Â a calm, descending melodic line with the choir singing the opening “Drop, drop” motif as accompaniment. The choir then concludes with the slow, descending lines “Jesu pie, Jesu pie.” Duration 4:04.

Baritone voice solo, SATB choir, and piano - Intermediate

SKU: MN.56-0053

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 3 minutes, 3 seconds. MorningStar Music Publishers #56-0053. Published by MorningStar Music Publishers (MN.56-0053).

UPC: 688670220562. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. A baritone solo on the English text begins the movement (Do not stand at my grave and weep…) and soon the choir enters to accompany the soloist chordally on the Lacrymosa, dies illa text. That’s the extent of the Latin used in this movement, and the baritone over choir setup continues until the end. Somber and reflective, the choir never sings above mezzo piano. Duration 3:03.

Soprano voice solo, SATB choir, and piano - Intermediate

SKU: MN.56-0049

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 9 minutes, 13 seconds. MorningStar Music Publishers #56-0049. Published by MorningStar Music Publishers (MN.56-0049).

UPC: 688670220524. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. The “Kyrie” uses Francis Quarles’ “Close now thine eyes and rest secure” as the opposing English text. After the choir begins the requiem text in Latin (“Requiem aeternam” through the “Kyrie eleison,”) the soprano soloist has a 27-measure solo in which the English text appears. Then the solo is repeated over choir accompaniment and the opening Latin text reappears to close the movement. Duration 9:13.

Tenor voice or baritone voice solo, SATB choir, and piano - Intermediate

SKU: MN.56-0057

Composed by Howard Goodall. Lent, Triduum/Three Days, Tenebrae, 21st Century, Heaven, Lament/Grief/Sorrow. Duration 4 minutes, 29 seconds. MorningStar Music Publishers #56-0057. Published by MorningStar Music Publishers (MN.56-0057).

UPC: 688670220609. English.

Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement is entirely in Latin and is a beautiful SATB setting (with accompaniment) of the “Agnus Dei” text. A tenor or baritone soloist is featured. Sweet and flowing, this movement makes a perfect stand-alone anthem for your choir. Duration 4:29.

Choral Piano, alto voice, baritone voice Flute, soprano voice

SKU: CF.CM9728

Composed by Irish Folk Song. Arranged by Russell L. Robinson. 13 pages. Duration 3 minutes, 44 seconds. Carl Fischer Music #CM9728. Published by Carl Fischer Music (CF.CM9728).

ISBN 9781491161074. UPC: 680160919673. Key: C major. English. Irish Folk song.

Carrickfergus is a city in Northern Ireland, and this Irish folk song of the same name has been sung for more than 300 years. It is about a person longing to be home, but the sea is wide and he or she can't cross over. The person laments that as aging occurs, friends and family are missed more and more. One of the most beautiful melodies I've ever heard, it has been performed by soloists Charlotte Church, Joan Baez, and Jackie Evanko and groups, The Chieftains and Celtic Woman. I hope you enjoy singing this beautiful Irish folk song! Russell Robinson, Arranger Pronunciations: Carrickfergus = KEH-rik-FEHR-guhs Ballygrand = BAH-lee-grand.
Carrick fergus is a city in Northern Ireland, and this Irish folk song of the same name has been sung for more than 300 years. It is about a person longing to be home, “but the sea is wide” and he or she can’t cross over. The person laments that as aging occurs, friends and family are missed more and more. One of the most beautiful melodies I’ve ever heard, it has been performed by soloists Charlotte Church, Joan Baez, and Jackie Evanko and groups, The Chieftains and Celtic Woman.I hope you enjoy singing this beautiful Irish folk song!Russell Robinson, ArrangerPronunciations:Ca rrickfergus =   KEH-rik-FEHR -guhsBallygrand = BAH-lee-grand.

Orchestra - Grade 3

SKU: AP.35998S

Viola Feature. Composed by Randy Sabien. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Alternatives. Jazz. Score. 24 pages. Highland/Etling #00-35998S. Published by Highland/Etling (AP.35998S).

UPC: 038081414973. English.

A cool viola feature! Beginning with a solo introduction invoking a Celtic lament, it morphs into a driving rock pulse of 3+3+2. Unlike most rock tunes, there is no need for drums, guitar, or piano as those roles have been assigned entirely to the strings. So take the leap!