By John Cage (1912-1992). For for any instrument or combination of instruments. Modern. Sheet Music. Composed 1952. Duration 4 minutes 33 seconds. Published by Edition Peters

By Various. Arranged by Albert E. Weir. Piano. Size 8.5 X 11. Published by Carl Fischer.

Edited by Albert Weir, Amy Appleby. For piano. Format: piano solo book. With fingerings. Baroque, classical period and romantic period. 400 pages. 9x12 inches. Published by Music Sales.

Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. Santorella Publications #O114. Published by Santorella Publications

Chamber Music Bass Clarinet, Cello, Clarinet, Cymbal, Flute, Percussion, Piano, Side Drum, Tam-tam, Temple Blocks, Tom-tom, Triangle, Vibraphone, Violin, Wood Block, alto Flute

SKU: PR.11440744S

Lost In Thought About Ancient Culture and Modern Civilization. Composed by Chen Yi. Full score. With Standard notation. 20 pages. Duration 9 minutes. Theodore Presser Company #114-40744S. Published by Theodore Presser Company (PR.11440744S).

UPC: 680160011490. 9.5 x 13 inches.

The sextet was written for flute (doubling alto flute), clarinet doubling bass clarinet), violin, cello, piano and percussion (triangle, 3 temple blocks, 2 wood blocks, side drum, cymbal, 4 tom-toms, vibraphone, small tam-tam, median tam-tam and big tam-tam). It presents the composer lost in thought about ancient culture and modern civilization and her thinking about the parallels and contrasts between the East and the West. Near Distance takes us through a journey that covers thousands of miles and thousands of years. Contrasting moments of dense, busy activity with sparse, haunting lines the composer bridges the gap between the timeless history of her homeland and the ever-changing, energetic life in the modern society. The work was originally written under the request of Prof. Jacob Druckman, for a composition workshop at the Aspen Music Festival. It is dedicated to his memory with admiration and respect. Near Distance has been featured in Sound and Silence, a series of ten documentary films on contemporary music, which has been broadcast on the European TV network since 1989, produced by the ISCM, Adamov Films and the Polish TV. It has also been recorded on CRI, released in 1999, under the title Sparkle: Chamber Music of Chen Yi. [now available through New World Records] --Chen Yi   Her piece... generates a vivid and wholly radiant color scheme. Harmonically, too, it seems to float enchantingly, its occasional ventures into microtones gracefully bending away from traditional tonality. Gorgeous music, this; one longs to hear more. --Alan Rich, LA Weekly 'Near Distance' evinced some delicate, dramatic sonorities in its fusion of East Asian and Western musical impulses. --John von Rhein, Chicago Tribune.

By Franz Schubert. Edited by Reiser, Salome. For Soli SATB, SATB Choir, 2 Oboes, 2 Bassoons, 2 Trumpets, Timpani, 2 Violins, Viola, Cello/Contrabass, Organ. D 486. Full score available separately - see item CA.7005300. Magnificat; Stuttgart Urtext editions; Use during church year: Advent, Christmas. Piano/Vocal score. Language: Latin. Composed 1815. 24 pages. Duration 9 min. Published by Carus Verlag (German import).

Choral SSAATTBB choir, Piano (for rehearsal)

SKU: CF.CM9738

Composed by Jacob Narverud. 16 pages. Duration 3 minutes. Carl Fischer Music #CM9738. Published by Carl Fischer Music (CF.CM9738).

ISBN 9781491161180. UPC: 680160919765. Key: Eb major. English. Barter by Sara Teasdale.

Life has loveliness to sell, All beautiful and splendid things, Blue waves whitened on a cliff, Soaring fire that sways and sings, And children's faces looking up Holding wonder in a cup.   Life has loveliness to sell, Music like a curve of gold, Scent of pine trees in the rain, Eyes that love you, arms that hold, And for your spirit's still delight, Holy thoughts that star the night.   Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstacy Give all you have been, or could be. --Barter from Love Songs (1918) by Sara Teasdale Sara Teasdale (1884-1933) was an American poet whose short, personal lyrics are noted for their classical simplicity and quiet intensity. Teasdale was born in St. Louis, Missouri and traveled to Chicago as a young woman, where she grew acquainted with Harriet Monroe and the literary circle around Poetry. Teasdale wrote seven books of poetry in her lifetime and received public admiration for her well-crafted lyrical poetry which centered on a woman's changing perspectives of beauty, love, life, and death. Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. A native Kansan, Jacob is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble of musicians from across the Great Plains. Dr. Narverud is a frequent guest lecturer at universities and conferences as well as an active guest conductor/clinician for choral festivals and all-state choirs across the United States. Many of his compositions are publisher best sellers and are performed worldwide by choirs of all levels. Website: jnarverud.com YouTube & Spotify: jacobnarverud.
Life has loveliness to sell, All beautiful and splendid things, Blue waves whitened on a cliff, Soaring fire that sways and sings, And children's faces looking up Holding wonder like a cup.   Life has loveliness to sell, Music like a curve of gold, Scent of pine trees in the rain, Eyes that love you, arms that hold, And for your spirit's still delight, Holy thoughts that star the night.   Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstacy Give all you have been, or could be. --Barter from Love Songs (1918) by Sara Teasdale Sara Teasdale (1884-1933) was an American poet whose short, personal lyrics are noted for their classical simplicity and quiet intensity. Teasdale was born in St. Louis, Missouri and traveled to Chicago as a young woman, where she grew acquainted with Harriet Monroe and the literary circle around Poetry. Teasdale wrote seven books of poetry in her lifetime and received public admiration for her well-crafted lyrical poetry which centered on a woman's changing perspectives of beauty, love, life, and death. Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. A native Kansan, Jacob is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble of musicians from across the Great Plains. Dr. Narverud is a frequent guest lecturer at universities and conferences as well as an active guest conductor/clinician for choral festivals and all-state choirs across the United States. Many of his compositions are publisher best sellers and are performed worldwide by choirs of all levels. Website: jnarverud.com YouTube & Spotify: jacobnarverud.
Life has loveliness to sell,All beautiful and splendid things,Blue waves whitened on a cliff,Soaring fire that sways and sings,And children's faces looking upHolding wonder like a cup. Life has loveliness to sell,Music like a curve of gold,Scent of pine trees in the rain,Eyes that love you, arms that hold,And for your spirit's still delight,Holy thoughts that star the night. Spend all you have for loveliness,Buy it and never count the cost;For one white singing hour of peaceCount many a year of strife well lost,And for a breath of ecstacyGive all you have been, or could be.       Â Â Â Â Â Â� �       —“Barter ” from Love Songs (1918) by Sara Teasdale Sara Teasdale (1884-1933) was an American poet whose short, personal lyrics are noted for their classical simplicity and quiet intensity. Teasdale was born in St. Louis, Missouri and traveled to Chicago as a young woman, where she grew acquainted with Harriet Monroe and the literary circle around Poetry. Teasdale wrote seven books of poetry in her lifetime and received public admiration for her well-crafted lyrical poetry which centered on a woman’s changing perspectives of beauty, love, life, and death.Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. A native Kansan, Jacob is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble of musicians from across the Great Plains. Dr. Narverud is a frequent guest lecturer at universities and conferences as well as an active guest conductor/clinician for choral festivals and all-state choirs across the United States. Many of his compositions are publisher best sellers and are performed worldwide by choirs of all levels.Website: jnarverud.com          YouTube & Spotify: jacobnarverud.

By Franz Schubert (1797-1828). Edited by Salome Reiser. For Soli SATB, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo. C-Dur (C major). Stuttgart Urtext editions. Magnificats, Advent, Christmas. Complete orchestral parts. Language: Latin. Composed 1815. D 486. Duration 9 min. Published by Carus Verlag

(Voice and Piano) For voice and piano. Format: piano/vocal songbook. With vocal melody, piano accompaniment and lyrics. Classical period and romantic period. 208 pages. 9x12 inches. Published by Schirmer.

By Franz Schubert. Edited by Paul, Bernhard. For Soli STB, SATB Choir, [2 Trumpets, Timpani], 2 Violins, Viola, Cello/Contrabass, Organ. D 167. Masses, Latin; Stuttgart Urtext editions. Score. Language: Latin. 88 pages. Duration 25 min. Published by Carus Verlag (German import).

Short Solos in all major and minor keys. By Victor Labenske. For Piano. Piano Collection. Book. 28 pages. Published by Alfred Publishing. (29153) Level: Intermediate.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS108

Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+5+5+2+5+2+8 pages. Duration 3 minutes, 21 seconds. Carl Fischer Music #FAS108. Published by Carl Fischer Music (CF.FAS108).

ISBN 9781491151396. UPC: 680160908899. 9 x 12 inches. Key: D major.

Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.

Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.
Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.
Annie� �s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.” She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS108F

Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #FAS108F. Published by Carl Fischer Music (CF.FAS108F).

ISBN 9781491151761. UPC: 680160909261. 9 x 12 inches.

Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.

Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.
Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.
Annie� �s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.” She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

Wind Quintet (Chamber Orchestra)

SKU: HL.14000929

Composed by Hans Abrahamsen. Music Sales America. Set of Parts. Composed 2012. 40 pages. Edition Wilhelm Hansen #WH29554A. Published by Edition Wilhelm Hansen (HL.14000929).

ISBN 9788759856468. 8.25x11.75x0.122 inches. English.

Walden for wind quintet was written in 1978 and commissioned by the Funen Wind Quintet. The title is taken from the American philosopher and poet Henry David Thoreau's novel from 1854 about living in the woods, which Thoreau did for two years. His stay there was an experiment, an attempt to strip away all the artificial needs imposed by society and rediscover man's lost unity with nature. In that particular sense his novel is a documentation of social inadequacy and a work of poetry (Utopia) as well. All thought Thoreau himself never completed any actual social analysis he was way ahead of his own time in his perception of the economy and cyclic character of Nature, today knownas ecology. His ideas are particularly relevant now that pollution caused by society has reached alarming proportions. Walden was written in a style of re-cycling and new simplicity. A lot of superfluous material has been peeled away in order to give space to different qualities such as identity and clarity. Various layers are encountered in the quintet such as the organic (growth, flowering, Decay), concretism (mechanical patterns) and finally the descriptive (distant horn calls and other ghost-like music of the past enter our consciousness like a dream). Walden consist of four movements. In 1995 another version for reed quintet was written to the Calefax Reed Quintet.

By Franz Schubert (1797-1828). Arranged by Paul Horn. For Soprano solo voice, Tenor solo voice, Bass solo voice, SATB Chorus, Organ. This edition: Paperbound. G-Dur (G major). Choir and Organ. German title: Messe in G-Dur (choir and organ / arr.). Masses, L. organ arrangement. Masses, Latin.

Soli SATB Voices, SATB Choir, 2 Ob, 2 Fg, 2 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.7005304

Composed by Franz Schubert. Edited by Salome Reiser. Carus plus: Innovative practice aids; Sacred vocal music, Magnificats; use during church year: Advent, Christmas; Carus sheet music series: Vocal scores XL; Stuttgart Editions (Urtext): Stuttgart Schubert Edition; occasions: Feasts of the Blessed Virgin M. Stuttgart Urtext Edition: Stuttgart Schubert Edition. XL in large print. Innovative practice aids, Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Vocal score. Composed 1815. D 486. 28 pages. Duration 9 minutes. Carus Verlag #CV 70.053/04. Published by Carus Verlag (CA.7005304).

ISBN 9790007240936. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score available separately - see item CA.7005300.

SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.7005311

Composed by Franz Schubert. Edited by Salome Reiser. This edition: urtext. Stuttgart Urtext Edition: Stuttgart Schubert Edition. Violin 1. Innovative practice aids, Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Single Part, Violin 1. Composed 1815. D 486. 8 pages. Duration 9 minutes. Carus Verlag #CV 70.053/11. Published by Carus Verlag (CA.7005311).

ISBN 9790007228286. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score and part available separately - see item CA.7005300.

SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.7005312

Composed by Franz Schubert. Edited by Salome Reiser. This edition: urtext. Stuttgart Urtext Edition: Stuttgart Schubert Edition. Violin 2. Innovative practice aids, Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Single Part, Violin 2. Composed 1815. D 486. 8 pages. Duration 9 minutes. Carus Verlag #CV 70.053/12. Published by Carus Verlag (CA.7005312).

ISBN 9790007228293. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score and part available separately - see item CA.7005300.

(E-Z Play Today #343). By Various. E-Z Play Today. Softcover. 288 pages. Published by Hal Leonard

SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.7005313

Composed by Franz Schubert. Edited by Salome Reiser. This edition: urtext. Stuttgart Urtext Edition: Stuttgart Schubert Edition. Viola. Innovative practice aids, Sacred vocal music, Magnificats, Advent, Christmas, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Daily hours. Single Part, Viola. Composed 1815. D 486. 4 pages. Duration 9 minutes. Carus Verlag #CV 70.053/13. Published by Carus Verlag (CA.7005313).

ISBN 9790007228309. Key: D major. Language: Latin.

With a duration of about 10 minutes, Schubert's Magnificat D 486 in C major is one of the more concise settings of the well-known Marian canticles, originally for the service of Vespers. It was composed in late summer 1815, and is therefore probably one of a series of church music works Schubert wrote in his youth for Lichtenthal Parish Church. The work requires a large-scale orchestra with strings, woodwind, and brass. The four-part choir contrasts with four soloists; this quartet sings the peaceful middle section of the three-section work. For the Carus edition Schubert's own autograph manuscript of his Magnificat was consulted again for the first time since 1888. Until 1989 this had been thought to be lost. This work is now available in carus music, the choir app! Score and part available separately - see item CA.7005300.

STB vocal soli, SATB choir, [2 trumpets, timpani], 2 violins, viola, cello/contrabass, organ - Level 3

SKU: CA.4067562

Erstausgabe nach den Klosterneuburger Stimmen. Composed by Franz Schubert. Edited by Bernhard Paul. This edition: urtext. Stuttgart Urtext Edition: Stuttgart Schubert Edition. Messe In G-Dur (Klosterneuburg). Innovative practice aids, Sacred vocal music, Masses, Latin. Single Part, Violin 2. D 167. 8 pages. Duration 25 minutes. Carus Verlag #CV 40.675/62. Published by Carus Verlag (CA.4067562).

ISBN 9790007220051. Key: G major. Language: Latin.

Franz Schubert's Mass in G major is one of the most popular settings of the mass ordinary: the charming song-like melodic writing, especially in the Kyrie and the Credo, forms a magical counterpoint to more concertante passages in the Gloria and the Sanctus. For a long time it was thought that Schubert's final version was scored for purely string orchestra, whilst a version with wind, brass, and timpani was thought to be an expanded orchestration by his brother Ferdinand Schubert. However, since the mid-1990s it has been known that the parts for trumpets and timpani were additionally composed by Franz Schubert himself for use ad libitum. The present edition offers this Klosterneuburg Version - with trumpets and timpani ad libitum, but without Ferdinand's wind parts - in an Urtext edition reflecting Schubert's own intended orchestration. This work is available in carus music, the choir app! Score and part available separately - see item CA.4067500.

Concert band - Grade 2

SKU: CL.024-4222-01

Composed by Phillips. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR380). Extra full score. Composed 2013. Duration 2 minutes, 37 seconds. C.L. Barnhouse #024-4222-01. Published by C.L. Barnhouse (CL.024-4222-01).

Imagine sitting in a canoe traveling down the peaceful river, blessed by the solitude of nature as the bow cuts quietly through the water. Lost in thoughts of comfort and peace, the solitude, that only nature can provide. Escaping the hustle and bustle of hurried lives to watch the deer maneuver through the woods and the birds fly through the air. In the last section, picture the majestic eagle soaring from the treetops as he makes his way out of sight. You, your students, and audience will enjoy the Solitude of this work.

(Lost in Thought About Ancient Culture and Modern Civilization). By Chen Yi (1953-). Chamber ensemble. For Flute, Clarinet, Violin, Cello, Piano, Percussion. Score and parts. Standard notation. Composed 5-Aug-88

(An Inside Look at the Bass Style of Bootsy Collins). By Bootsy Collins. Bass Instruction. Softcover with CD. Guitar tablature. 48 pages. Published by Cherry Lane Music

STB vocal soli, SATB choir, [2 trumpets, timpani], 2 violins, viola, cello/contrabass, organ - Level 3

SKU: CA.4067564

Erstausgabe nach den Klosterneuburger Stimmen. Composed by Franz Schubert. Edited by Bernhard Paul. This edition: urtext. Stuttgart Urtext Edition: Stuttgart Schubert Edition. Messe In G-Dur (Klosterneuburg). Innovative practice aids, Sacred vocal music, Masses, Latin. Single Part, Cello/Double Bass. Composed 1696. D 167. 8 pages. Duration 25 minutes. Carus Verlag #CV 40.675/64. Published by Carus Verlag (CA.4067564).

ISBN 9790007220075. Key: G major. Language: Latin.

Franz Schubert's Mass in G major is one of the most popular settings of the mass ordinary: the charming song-like melodic writing, especially in the Kyrie and the Credo, forms a magical counterpoint to more concertante passages in the Gloria and the Sanctus. For a long time it was thought that Schubert's final version was scored for purely string orchestra, whilst a version with wind, brass, and timpani was thought to be an expanded orchestration by his brother Ferdinand Schubert. However, since the mid-1990s it has been known that the parts for trumpets and timpani were additionally composed by Franz Schubert himself for use ad libitum. The present edition offers this Klosterneuburg Version - with trumpets and timpani ad libitum, but without Ferdinand's wind parts - in an Urtext edition reflecting Schubert's own intended orchestration. This work is available in carus music, the choir app! Score and part available separately - see item CA.4067500.