Par CURNOW JAMES. A powerful statement in recognition of the allied D-day armada! There are so many musical considerations that make this piece an extraordinary teaching tool, let alone the cross-curricular tie-ins with the history department! The contrasts of style, dynamics, articulations, and harmonic balance make it a superb learning experience with an important historical connection. Perfect …

Par CURNOW JAMES. A powerful statement in recognition of the allied D-Day armada! There are so many musical considerations that make this piece an extraordinary teaching tool, let alone the cross-curricular tie-ins with the history department! The contrasts of style, dynamics, articulations, and harmonic balance make it a superb learning experience with an important historical connection. Perfect …

Fur Flûte Alone. Par VARESE EDGARD. Edgard Varese's 1936 composition Density 21. 5 for unaccompanied Flute solo. The title of the piece refers to the denisty of Platinum and was written for the inaugeration of Georges Barrere's platinum flute./ Répertoire / Flûte Traversière

A dynamic trio of familiar Latin texts composed expressly for school choirs by Jerry Estes. It's intended to be performed as a group, but each piece can be performed alone, so it's an economical choice for choirs on a tight budget. The 3-Part Mixed edition has a limited men's range and is ideal for middle school and junior high choirs. / Choeur Mixte (SATB)

Joyful and creative, this new Advent offering features the option of utilizing a vocal quartet (or larger ensemble) to echo the full choir. Or, SATB choirs can perform the piece alone, if desired. Add the optional handbell accompaniment to create a sparkling Advent worship proclamation! / Choeur Mixte (SATB)

Par CURNOW JAMES. A powerful statement in recognition of the allied D-Day armada! There are so many musical considerations that make this piece an extraordinary teaching tool, let alone the cross-curricular tie-ins with the history department! The contrasts of style, dynamics, articulations, and harmonic balance make it a superb learning experience with an important historical connection. Perfect …

Par BARKER WARREN. Ponder for a moment the lengths to which people have gone, the trials they have endured, and the risks they have taken while fighting to gain or preserve their freedom. After all, without freedom, what do you have?The opening of IN PRAISE OF FREEDOM introduces a sense of patriotism and independence. The Brass, Woodwinds, and Percussion take turns sharing the 'spotlight' througho…

12 Poems by Judith G. Wolf for Countertenor, Cello, and Orchestra. Par FUCHS KENNETH. This piece, along with three others, earned the composer a Grammy for the 2018 Best Classical Compendium. Composer's program note excerpt: Judith G. Wolf's expressive poems take us on a memorable journey through everyday life, the support of family and friends, the joy of love, and the pain of grief and loss. I w…

Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé. Par VIVALDI ANTONIO. The present reduction derives from the critical edition of the score, published in this catalog in November 2019. Antonio Vivaldi's La Dorilla, a heroic-pastoral opera on a libretto by Antonio Maria Lucchini, was premiered at the Teatro Sant'Angelo in Venice on 6 November 1726. Six years later it was r…

Prefazione di Alfonso Alberti. Par DE SABATA VICTOR. As an orchestral conductor, Victor de Sabata was indisputably one of the leading musical figures of his day. With this edition, we hope to draw light upon the little-known but extremely interesting fruits of his 'second' career, that of composer, with his Tre pezzi per pianoforte (Three pieces for piano), which bring together the influence of Ea…

Par CRUMB GEORGE. Like Book I of George Crumb\'s final large-scale keyboard cycle, Metamorphoses, Book II: Ten Fantasy-Pieces (After Celebrated Paintings) comprises ten movements for solo piano, each inspired by one of the composer\'s favorite works of visual art. His efforts to render these paintings in sound lead Crumb to reach beyond the conventional resources of the instrument once more: the i…

for piano. Par LARCHER THOMAS. One could say that it is very natural to write for a “natural” [as opposed to prepared] piano - yes, maybe, but for me this had not been natural for many years. Exploring new things and sounds sometimes also has to do with not wanting to face the status quo, hiding oneself in a so-called future. In many of my earlier pieces I had fled into preparing the piano, wantin…