Composed by Modest Petrovich Mussorgsky (1839-1881). For Woodwind quintet. Stapled. Level 3. Score, set of parts. Text Language: German/English. 16/11/8/11/7/7 pages. Published by Baerenreiter Verlag

Arranged by Joel Raney. For SATB choir with optional Rhythm. Scripture References: Psalm 40:30 -- Revelation 15:3 -- Revelation 21:21 -- Ephesians:1:7. Blues, Gospel, Spirituals, Hymntune, Sacred. Choral octavo. 16 pages

Second violin (2. Violin)

SKU: BA.BA10986-75

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Single part. Hob. I:77. 7 pages. Baerenreiter Verlag #BA10986_75. Published by Baerenreiter Verlag (BA.BA10986-75).

ISBN 9790006569137. 32.5 x 25.5 cm inches. Key: B-flat major.

Urtext from: Joseph Haydn Works, G. Henle Verlag Munich.

First violin (1. Violin)

SKU: BA.BA10983-74

Composed by Franz Joseph Haydn. Edited by Sonja Gerlach and Sterling E. Murray. This edition: urtext edition. Stapled. Single part. Hob. I:81. 7 pages. Baerenreiter Verlag #BA10983_74. Published by Baerenreiter Verlag (BA.BA10983-74).

ISBN 9790006565580. 32.5 x 25.5 cm inches. Key: G major.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

Second violin (2. Violin)

SKU: BA.BA04674-75

Composed by Franz Joseph Haydn. Edited by Horst Walter. This edition: urtext edition. Stapled. Single part. Hob. I:99, No. 7. Baerenreiter Verlag #BA04674_75. Published by Baerenreiter Verlag (BA.BA04674-75).

ISBN 9790006498833. 32.5 x 25.5 cm inches. Key: E-flat major.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

First violin (1. Violin)

SKU: BA.BA04674-74

Composed by Franz Joseph Haydn. Edited by Horst Walter. This edition: urtext edition. Stapled. Single part. Hob. I:99, No. 7. 11 pages. Baerenreiter Verlag #BA04674_74. Published by Baerenreiter Verlag (BA.BA04674-74).

ISBN 9790006498826. 32.5 x 25.5 cm inches. Key: E-flat major.

Urtext from the G. Henle Complete Edition of the Works of Joseph Haydn.

Double Bass

SKU: BA.BA08833-85

Composed by Ludwig van Beethoven. Edited by Helga Lühning. This edition: urtext edition. Stapled. Single part. Composed 1806. No. 3. 7 pages. Baerenreiter Verlag #BA08833_85. Published by Baerenreiter Verlag (BA.BA08833-85).

ISBN 9790006567584. 32.5 x 25.5 cm inches.

Sooner or later theRomantic Pieceswill pave their way through all the salons: thus the periodical Dalibor predicted when theRomantic Piecesop. 75 were first issued by the publisher Simrock in 1887. Since then they have become some of Dvorak's most popular works for violin and piano. Now they are being made available for violists also.

Bella and Semjon Kalinowsky have arranged the four pieces on the basis of theComplete Edition of the Works of Antonin Dvorak. The piano part of the original version remains, while the violin part has been adapted for viola; it has been transcribed into the alto clef and includes fingering and bowing marks.

With their entrancing melodies and poetry, these pieces pose few technical challenges and are thus easy to play.

(Har ar din himmel). Composed by Marten Jansson. For SATB choir. Stapled. Level 4. Choral score. Language: Swedish/English. 7 pages. Published by Baerenreiter Verlag

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.

72 Solo Cantatas for Voice, Instrument and Basso continuo. Composed by Georg Philipp Telemann (1681-1767). Edited by Gustav Fock; Ute Poetzch. This edition: urtext edition. Stapled. Cantatas for the Sundays after Trinity. Set of parts, anthology. 39/50 pages pages. Published by Baerenreiter Verlag (BA.BA5893-22).

2 violins, viola, cello (Violins (2), Viola, Violoncello) - Level 5

SKU: BA.BA11056

Composed by Rudolf Kelterborn. Stapled. Score. Composed 2013. 20 pages. Duration 12 minutes. Baerenreiter Verlag #BA11056_00. Published by Baerenreiter Verlag (BA.BA11056).

ISBN 9790006502387. 34.5 x 27.3 cm inches.

In his seventh string quartet, the well-known Swiss composer Rudolf Kelterborn has achieved something special in terms of form: the title and subtitle already suggest that this quartet plays with a distinctively fragmented inner structure. It is highly appealing how the succession of short individual fragments becomes a cohesive one-movement whole.

Both performers and audience encounter a skilful dramaturgy enabling them to experience the diverse spectrum of expression which this genre, steeped in tradition, opens up.

SAB choir and piano (SAB) - easy

SKU: OU.9780193529021

Composed by Bob Chilcott. Sacred choral - mixed voices. Sacred. Vocal score. 12 pages. Duration 3.5'. Oxford University Press #9780193529021. Published by Oxford University Press (OU.9780193529021).

ISBN 9780193529021. 10 x 7 inches.

For SAB and piano Chilcott has re-scored this serene anthem, originally for upper voices, for SAB, making it accessible to choirs with a limited number of male voices. A rich addition to the Choral Evensong repertory, the anthem juxtaposes an original setting of Fuller's 'Evening Hymn' with the plainsong melody 'Te lucis ante terminum'.

Chorus a cappella

SKU: BR.CHB-5380

Composed by Howard Arman. Choir; stapled. Chor-Bibliothek (Choral Library). Song; Music post-1945; New music (post-2000). Sheet Music. Breitkopf and Haertel #CHB 5380. Published by Breitkopf and Haertel (BR.CHB-5380).

ISBN 9790004413814. 7.5 x 10.5 inches. German / Latin.

As director of the Bavarian Radio Choir, Howard Arman has been actively engaged with international Christmas carols through various Christmas-related CD productions in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du frohliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du frohliche and classical double choir settings such as Resonet in laudibus. The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It's a Birthday and Wasn't That a Mighty Day to form a medley, Ain't That a Rockin' gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance.

Chorus a cappella

SKU: BR.CHB-5380-00

Composed by Howard Arman. Choir; stapled. Chor-Bibliothek (Choral Library). Song; Music post-1945; New music (post-2000). Choral score. 40 pages. Breitkopf and Haertel #ChB 5380-00. Published by Breitkopf and Haertel (BR.CHB-5380-00).

ISBN 9790004413814. 7.5 x 10.5 inches. German / Latin.

As director of the Bavarian Radio Choir, Howard Arman has been actively engaged with international Christmas carols through various Christmas-related CD productions in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du frohliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du frohliche and classical double choir settings such as Resonet in laudibus. The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It's a Birthday and Wasn't That a Mighty Day to form a medley, Ain't That a Rockin' gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance.

Viola

SKU: BA.BA09505-79

Nach Ein Orgelstuck fur eine Uhr KV 608. Composed by Wolfgang Amadeus Mozart. Edited by Christopher Hogwood. Stapled. Nach Ein Orgelstück für eine Uhr KV 608. Single part. Composed 1799. KV 608. 7 pages. Baerenreiter Verlag #BA09505_79. Published by Baerenreiter Verlag (BA.BA09505-79).

ISBN 9790006533671. 32.5 x 25.5 cm inches. Key: F minor.

Marching Snare/Tenor duets (marching snare, marching tenors (quints or quads)) - Med-Advanced

SKU: TA.TSPB-29

Four duets for marching snare and tenor. Composed by Brian Blume. Books & Education. Book & CD-ROM. Tapspace Publications #TSPB-29. Published by Tapspace Publications (TA.TSPB-29).

It takes two to tap off in this collection of medium-advanced duets for marching snare and tenor. These four pieces were smartly written by Brian Blume to function as audition pieces for a college-level program (or advanced high school level) or any time a snare player and tenor player want to get together to showcase their skills!

The pieces are short enough to remain attainable but will demand skill from each performer. Inside you'll find:

Take Two -- One phrase is followed by a second, similar phrase (a second take) through a variety of compositional devices. (1'40)

Catchphrase -- Phrases over the barline, phrases with space, and like phrases with different rhythmic values serve to challenge conventional wisdom. (1'20)

Relentless -- Mostly in 7/8 time, this one is relentless in its tempo and musical challenges. (1'15)

Then Again -- A throwback to more traditional rudimental works, you'll find ratamacues, swiss army triplets, and even the double drag tap! (1'45)

Take Two comes with individual PDF parts for printing or tablet view and audio reference recordings. You supply the talent!

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

SKU: PR.11440909S

Composed by Robert Maggio. Full score. With Standard notation. 58 pages. Duration 15 minutes. Theodore Presser Company #114-40909S. Published by Theodore Presser Company (PR.11440909S).

UPC: 680160013814.

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 rhythms 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 (indefinite 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. The movements are not exact rhythmic repetitions of one another. 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.

Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - picc.2.2.2.2.dble bsn - 4.2.3.0 - timp.perc - str)

SKU: BR.CHB-14677-02

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Beate Angelika Kraus. Choir; stapled. Chor-Bibliothek (Choral Library). Symphony; Classical. Choral score. 20 pages. Duration 65'. Breitkopf and Haertel #ChB 14677-02. Published by Breitkopf and Haertel (BR.CHB-14677-02).

ISBN 9790004413067. 7.5 x 10.5 inches.

Since 2001 the Ninth has been included in UNESCO's Memory of the World Register. Beethoven was preoccupied with his unique work for many years, since at least 1815, and still shortly before his death, according to the highly complex source situation. The work will now finally be available as an edition produced from the new Beethoven Complete Edition in time for the 2020 anniversary year commemorating the composer's 250th birthday. Not all doubtful cases can be clarified, not all gaps closed, but numerous aspects have been further illuminated in this edition. New findings and source evaluations taken into account here, appear, for instance, pertaining to the work's title, the tradition of the metronome indications, the contrabassoon part, and the underlying vocal text in the finale, as well as in the original rendering of the sforzato and forte markings. The edition is to be considered, according to its editor Beate Angelika Kraus, as a contribution to the understanding of a work in which there is a discrepancy between its significance in musical life and the critical appreciation of its musical text..

Chorus (with soloists) and piano (solos: SATB - choir: SATB - picc.2.2.2.2.dble bsn - 4.2.3.0 - timp.perc - str)

SKU: BR.EB-9356

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Beate Angelika Kraus. Choir; stapled. Edition Breitkopf. Symphony; Classical. Piano vocal score. 60 pages. Duration 65'. Breitkopf and Haertel #EB 9356. Published by Breitkopf and Haertel (BR.EB-9356).

ISBN 9790004188262. 7.5 x 10.5 inches.

Since 2001 the Ninth has been included in UNESCO's Memory of the World Register. Beethoven was preoccupied with his unique work for many years, since at least 1815, and still shortly before his death, according to the highly complex source situation. The work will now finally be available as an edition produced from the new Beethoven Complete Edition in time for the 2020 anniversary year commemorating the composer's 250th birthday. Not all doubtful cases can be clarified, not all gaps closed, but numerous aspects have been further illuminated in this edition. New findings and source evaluations taken into account here, appear, for instance, pertaining to the work's title, the tradition of the metronome indications, the contrabassoon part, and the underlying vocal text in the finale, as well as in the original rendering of the sforzato and forte markings. The edition is to be considered, according to its editor Beate Angelika Kraus, as a contribution to the understanding of a work in which there is a discrepancy between its significance in musical life and the critical appreciation of its musical text..

Chorus (with soloists) and orchestra (solos: SATB - choir: SATB - picc.2.2.2.2.dble bsn - 4.2.3.0 - timp.perc - str)

SKU: BR.CHB-14677

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Beate Angelika Kraus. Choir; stapled. Chor-Bibliothek (Choral Library). Symphony; Classical. Sheet Music. Duration 65'. Breitkopf and Haertel #CHB 14677. Published by Breitkopf and Haertel (BR.CHB-14677).

ISBN 9790004413067. 7.5 x 10.5 inches.

Since 2001 the Ninth has been included in UNESCO's Memory of the World Register. Beethoven was preoccupied with his unique work for many years, since at least 1815, and still shortly before his death, according to the highly complex source situation. The work will now finally be available as an edition produced from the new Beethoven Complete Edition in time for the 2020 anniversary year commemorating the composer's 250th birthday. Not all doubtful cases can be clarified, not all gaps closed, but numerous aspects have been further illuminated in this edition. New findings and source evaluations taken into account here, appear, for instance, pertaining to the work's title, the tradition of the metronome indications, the contrabassoon part, and the underlying vocal text in the finale, as well as in the original rendering of the sforzato and forte markings. The edition is to be considered, according to its editor Beate Angelika Kraus, as a contribution to the understanding of a work in which there is a discrepancy between its significance in musical life and the critical appreciation of its musical text..