PARTITIONS GRATUITES : ORCHESTRE
- First Loss - Op. 68

Orchestra Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more.

SKU: PR.41641515L

Composed by Behzad Ranjbaran. Premiered by the Philadelphia Orchestra, Yannick Nezet-Seguin, Music Director, Jeffrey Khaner, flute; Verizon Hall, Philadelphia. Contemporary. Large Score. With Standard notation. Composed 2013. Duration 28 minutes. Theodore Presser Company #416-41515L. Published by Theodore Presser Company (PR.41641515L).

UPC: 680160621750.

The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice. In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions. In writing my flute concerto, I aimed not only to highlight the modern flautist's ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages. Two prominent characters permeate the first movement of my concerto. They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively. The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra. Apart from these two characters there are moments of mystery, comedy and the grotesque, among others. In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors. The solo flute is left out in an agitated middle section that references the first movement. In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp. The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute. Some of the materials from the earlier movements are presented again with joyous character. The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.

(A Funked Up Fairy Tale) Performed by Extreme. For guitar and voice. Format: guitar tablature songbook. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar chord diagrams and guitar tab glossary. Metal. Series: Hal Leonard Guitar Recorded Versions. 116 pages. 9x12 inches. Published by Hal Leonard.

Grade 3

SKU: CL.WBM-4868-01

March. Composed by John Philip Sousa. Arranged by Brion. Concert Band. Extra full score. Composed 2020. Willow Blossom Music #WBM-4868-01. Published by Willow Blossom Music (CL.WBM-4868-01).

This rousing Sousa march from the March King’s late career is available for the first time in an authentic concert-sized edition, meticulously edited by Sousa expert Keith Brion. Complete with extensive performance information, full score, and modern instrumentation, this march gem features a stirring treatment of Auld Lang Syne in the trio. Perfect for any performance situation, and ideally suited for adult community bands, this march will live on for generations to come. Exceptional!

By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2.0). PDF file on CD. 2500 pages. Published by Subito Music.

Chamber Music Clarinet

SKU: PR.114419200

For solo Bb Clarinet. Composed by Shulamit Ran. Solo part. With Standard notation. 8 pages. Duration 7 minutes. Theodore Presser Company #114-41920. Published by Theodore Presser Company (PR.114419200).

ISBN 9781491114223. UPC: 680160671731. 9 x 12 inches.

Spirit was composed in memory of the renowned clarinetist Laura Flax. Laura commissioned Ran’s first solo clarinet work, For an Actor: Monologue for Clarinet, to premiere with the Da Capo Chamber Players in 1978. Ran returned to the clarinet in many compositions over the years, sometimes as a lead instrument and at other times as an important voice, yet always inspired by Laura’s rich sound, blazing technique, and the “brain and guts” that she brought to her playing. As a memorial, Spirit is not about absence, but rather a celebration displaying a wide range of emotions, with at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of parting and loss take over.
SPIRIT was composed in memory of Laura Flax (1952-2017), the renowned New York-based clarinetist and my cherished friend. Our musical and personal association began in 1977 when Laura invited me to compose a solo clarinet work, For an Actor: Monologue for Clarinet, in memory of her mother, Hazel Flax, whom I had known.After composing For an Actor for Laura I came back to the clarinet in many of my compositions over the years, sometimes as a lead instrument and at other times as an important voice. In all of my clarinet music Laura is present. The rich sound, blazing technique, the “brain and guts” that she brought to her playing, and her remarkable person, have inspired me in so many ways during the four decades of our friendship, and beyond.I did not want Spirit to be about absence, though. I wanted the piece to exhibit a wider range of emotions, as well as capture at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of “parting,” and of loss, take over.Upon completing Spirit on October 21, 2017 I found myself compelled to add at the bottom of the score the words “To Laura, always in my heart,” as though in an effort to reach out, for a brief moment, and touch the unreachable.—Shula mit Ran.

SATB vocal soli, SATB choir, 2 violins, basso continuo, [3 trombones]

SKU: CA.4005411

Composed by Wolfgang Amadeus Mozart. Arranged by Paul Horn. This edition: urtext. Stuttgart Urtext Edition: Mozart. Litaniae Lauretanae In B Rev.2002. Innovative practice aids, Litanies, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Violin 1. Composed 1771. KV 109 (74e). 4 pages. Duration 11 minutes. Carus Verlag #CV 40.054/11. Published by Carus Verlag (CA.4005411).

ISBN 9790007059309. Key: B flat major. Language: Latin.

This Litany of the Blessed Virgin Mary is the first and most straightforward of four litanies which Mozart composed from 1771 to 1776 in Salzburg. Its light instrumental scoring - only the church trio of two violins and continuo, with trombones used merely to reinforce the choir - suggest that this piece was intended for Marian devotions in the small Court Chapel of Schloss Mirabell. Score and part available separately - see item CA.4005400.