Four Rags for Two Pianos. By William Bolcom. Marks. Softcover. Size 9x12 inches. 48 pages. Published by Edward B. Marks Music Company.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041L

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Large Score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041L. Published by Theodore Presser Company (PR.11442041L).

UPC: 680160687039.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Performed by Creedence Clearwater Revival. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 88 pages. Published by Hal Leonard.

Performed by Creedence Clearwater Revival. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Size 9x12 inches. 160 pages. Published by Hal Leonard.

By Creedence Clearwater Revival. For Ukulele. Ukulele. Softcover. Published by Hal Leonard

By Creedence Clearwater Revival. Guitar Chord Songbook. Softcover. 80 pages. Published by Hal Leonard

Book with Interactive Online Audio Interface. By Creedence Clearwater Revival. Deluxe Guitar Play-Along. Classic Rock. Softcover Audio Online. 106 pages. Published by Hal Leonard

By Creedence Clearwater Revival. Easy Guitar (Simplified arrangements for guitar). Softcover. Guitar tablature. 48 pages. Published by Hal Leonard.

A Step-by-Step Breakdown of the Guitar Styles and Techniques of John and Tom Fogerty. By Creedence Clearwater Revival. Signature Licks Guitar. Instruction, Rock, Rock Instruction. Softcover Audio Online. With guitar tablature. 64 pages. Published by Hal Leonard

Composed by William Bolcom. For piano. Format: piano solo book. With introductory text. Ragtime. 126 pages. 9x12 inches. Published by Edward B. Marks Music Company.

Composed by William Bolcom. E.B. Marks. Classical. Softcover. 192 pages. Published by Edward B. Marks Music (HL.210373).

Parts. By Dmitri Shostakovich. Arranged by Roman Ledenyov. DSCH. Size 8.5x11.5 inches. 23 pages. Published by DSCH.

Score. By Dmitri Shostakovich. Arranged by Roman Ledenyov. DSCH. Size 8.5x11.25 inches. 30 pages. Published by DSCH.

Alto and chamber orchestra (1 * Altfl. * 1 * Engl. Hr. * 1 * Bassklar. * 1 * Kfg. - 2 * 0 * 0 * 0 - Hfe. - Str. (6 * 4 * 4 * 4 * 2))

SKU: HL.49007066

Funf Lieder fur eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner. Composed by Richard Wagner. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Conductor's/study score. Composed 1976. 72 pages. Duration 15'. Schott Music #ED 7230. Published by Schott Music (HL.49007066).

ISBN 9790001075695. UPC: 196288077459. 8.25x11.75x0.24 inches. German.

During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze's focal point of interest.In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.'- Hans Werner Henze.

Composed by Anders Edenroth. Children. Real Group. Music Education. Octavo. 12 pages. Walton Music #WRG1029. Published by Walton Music (GI.WRG1029).

Organ solo

SKU: CA.1805200

Composed by Various. Edited by Helmut Volkl. This edition: Paperbound. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern. German title: Intonationen + Begleitsatze. Organ music based on hymns, Whole church year / Omni tempore. Collection. 440 pages. Carus Verlag #CV 18.052/00. Published by Carus Verlag (CA.1805200).

ISBN 9790007100209.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

By Leveleleven. Arranged by Anders Edenroth and Matti Kallio. For Choral (SSAATTBB A CAPPELLA). Walton Choral. 36 pages. Walton Music #WRG1025. Published by Walton Music

By Leveleleven. Arranged by Anders Edenroth and Matti Kallio. For Choral (TTBB Div A Cappella). Walton Choral. 40 pages. Walton Music #WRG1026. Published by Walton Music

Piano

SKU: BT.EMBZ14758

Composed by Adrienne Kaczmarczyk and Franz Liszt. Book Only. Composed 2011. 68 pages. Editio Musica Budapest #EMBZ14758. Published by Editio Musica Budapest (BT.EMBZ14758).

Hungarian-English-Germ an-French.

This selection is intended to reveal a less-known aspect of the genius of Franz Liszt, the greatest pianist of the 19th century: as a master of piano miniatures. While his large-scale works written over many years show Liszt as a striving composer for whom the creative process was difficult, at the same time, hidden in the shadow of the monumental peaks, the 'moments musicaux' tend to capture him in the process of improvisation, at the moment when a compositional idea flashed into his mind and was first noted down. The miniatures that feature in our selection trace his creative path through six decades (1827-1885), from his youthful testing of his wings right up to his finalfarewell. The manuscript of any piece that did not later become part of a cycle or the starting-point for a larger-scale composition generally remained in the mists of obscurity as a treasured memento preserved by one of his pupils or admirers.

Diese Auswahl will eine weniger bekannte Seite FranzLiszt, des größten Klaviergenies des 19. Jahrhunderts, diedes Meisters der Klavierminiaturen vorstellen. Seine übereinen langen Zeitraum vieler Jahre entstandenen Werke,wie die Klavierkonzerte, symphonische Werke oder dasChristus Oratorium, zeigen ihn als mit sich kämpfenden und schwer schaffenden Komponisten. Nicht so, die imSchatten der monumentalen Kompositionen stehenden 'moments 'usicaux“. Diese halten Liszt im Momentder Improvisation fest, lassen die kompositorischen Ideenin ihrem ersten Aufleuchten erstarren. Die Miniaturendieser Auslese führen durch die sechs Jahrzehnte seinerschöpferischen Laufbahn (1827-1885),beginnend beiden Versuchen der Jugendzeit bis zum letzten Abschied.Die Manuskripte der Stücke, die später nicht Teil einesZyklus oder Anfangspunkt einer großangelegten Kompositionwurden, versanken im Dunkel der Unbekanntheit.