PARTITIONS GRATUITES :
- Mosaic I

Chamber Music Bass Trombone, Horn, Trombone, Trumpet 1, Trumpet 2, Tuba

SKU: PR.114413800

Composed by Clint Needham. Sws each. Set of Score and Parts. With Standard notation. 20+20+8+12+12+8+8+8+12+12 +8+8 pages. Duration 10 minutes, 30 seconds. Theodore Presser Company #114-41380. Published by Theodore Presser Company (PR.114413800).

ISBN 9781491111048. UPC: 680160610204. 9x12 inches.

Abstract Mosaics was inspired by the mosaic artwork of Sonia King. By nature, mosaics are synergistic - many small pieces structured together to make an artistic whole. Needham's work vividly captures this construction from small elements. Each of the work's four sections highlights a particular sonic quality, and each of the instruments, or pieces of the quintet, works in concert with one another creating the musical landscape, instead of the traditional model of one voice carrying the main melodic content. Abstract Mosaics was commissioned by the University of Wisconsin-Whitewater Faculty Brass Quintet in celebration of the group's 25th anniversary.
Abstract Mosaics was commissioned by the University of Wisconsin-Whitewater Faculty Brass Quintet in celebration of the group’s 25thanniversary.Abstract Mosaics takes inspiration from mosaic artwork created byartist Sonia King. By their nature, mosaics are synergistic – that is to say, many small pieces make up the whole of the artwork. The musical work attempts to capture this idea of synergy. Cast in four main sections, each part highlights a particular sonic quality unique to the brass quintet. Like mosaic artwork, the instruments, or “pieces” of the quintet, work in concert with one another to create the musical landscape instead of the more traditional modelof having one voice carry the main melodic content while others accompany.I felt this was particularly important to equally showcase the talents of all members of the UW-Whitewater Quintet as they celebrate 25 years of dedication to performing as a group.– Clint Needham.

Piano - Level 5

SKU: BA.BA11471

Composed by Zsigmond Szathmary. Stapled. Dedicated to Zoltán Kocsis. Performance score. Baerenreiter Verlag #BA11471. Published by Baerenreiter Verlag (BA.BA11471).

ISBN 9790006574759. 29.7 x 21 cm inches.

The powerful intensity of colour and expressiveness of the mosaic images in the apse and altar area of the late antique church of San Vitale (from the 6th century) in Ravenna made a lasting impression on Zsigmond Szathmáry. The fascination of how imposing images emerge from tiny, luminous mosaic cubes and vividly tell the biblical stories inspired the composer to write his piano piece: In my composition, I tried to follow this path: to organise the smallest coloured and angular glass cubes â?? that is, the smallest coloured and angular musical miniature events â?? in such a way that they constantly grow and finally culminate in a tangible musical statement. Despite this seemingly archaic procedure, the composer wants his piece to be understood as a continuation of the virtuoso piano music tradition of the 19th and 20th centuries. The Mosaikbilder â?? (Mosaic Pictures) are dedicated to the great Hungarian pianist Zsoltán Kocsis, for whom they were written in 2012.

Piano Accompaniment; Viola

SKU: HL.48024311

Viola and Piano. Composed by Richard H. Walthew. Boosey & Hawkes Chamber Music. Classical. Softcover. 40 pages. Boosey & Hawkes #M060128028. Published by Boosey & Hawkes (HL.48024311).

ISBN 9780851629582. 9.0x12.0x0.165 inches.

New edition of this charming suite by the British composer Richard Walthew (1872-1951), originally published in 1900. The work was frequently performed by Lionel Tertis over his long career; his fingerings and bowings are of great interest to students and scholars, so these are included for reference in the viola cue stave in the piano score; the viola part itself is left 'clean' for performers to make their own decisions In 1943 Tertis premiered A Mosaic in Ten Pieces in the version for viola and orchestra in a concert broadcast by the BBC. The performance was reviewed in the Musical Times: “It is the work of a happy craftsman, genial, jesting (so few composers joke now). In a slow movement Walthew is at his serene best. Brahms would have enjoyed the Valsette, and Elgar beamed upon other parts. Tertis's phrasing is the best lesson I can imagine for any young musician...”.

Arranged by Joseph M. Martin. For SATB choir (SATB). Shawnee Press. Sacred, Revival, Missions

By Cole Porter. Arranged by Bill Holman. Jazz Ensemble / Jazz Band. The Stan Kenton Orchestra Library Series. Swing. Grade 5/6. Score and set of parts

Leadsheets for 76 Jazz Vocals. By Various. Vocal Collection. Size 9x12 inches. 180 pages. Published by Second Floor Music.

Choir Secular Double Choir and Violoncello

SKU: PE.EP73479

Composed by Francis Pott. Choral Works (inc. Oratorios). Edition Peters. Living Composer. Vocal Score. 164 pages. Edition Peters #98-EP73479. Published by Edition Peters (PE.EP73479).

ISBN 9790577019888. 297 x 210mm inches. English.

At First Light was commissioned by Eric Bruskin, a resident of Philadelphia, USA, in memory of his mother. Eric had a longstanding enthusiasm for my work, and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense, no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances - but in memory I carry the deaths of both my own parents, and I was able to draw upon that. Eric's fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo 'cello part in the new work - but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore, the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent.

Eric's Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually, though, I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general, but balances it with a secular approach to loss, celebration, remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name, taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement, the texts by the Lebanese-born Kahlil Gibran and the US, Kentuckian poet Wendell Berry first address the departed loved one directly, then place us within an imaginary funeral cortege, where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer, requested and provided by Eric Bruskin, which serves to mirror its Latin counterpart heard at the outset.

Throughout , the lamenting cello represents a commentary on the experience articulated in the text. It evokes and, in a sense, tries to embrace and sanctify the individual existential journeys of the bereft, as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called 'the unbearable beauty of the dead' (movement 5).

In a modern world hostage to ever greater menace, displacement, bloodshed and anguish, I hope fervently that this music not only brings a measure of solace to the person who commissioned it, but also makes its own small contribution to bailing out the sinking ship of humanity.