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18811A757D77-860D-4BCD-A15B-A41F95993FBAB397602Second SymphonyCommissioned in the late Fall of 1975, work on the SECOND SYMPHONY was not begun until the Summer of 1977, when the score was completed in sketch form in three months, July through September. The instrumentation was begun in the late Winter of that same year and the Full Score completed on March 27th, 1978. The first performance took place in Fairchild Auditorium on the campus of Michigan State University on May 6th, 1978, by the Michigan State University Symphonic Band under the direction of Kenneth G. Bloomquist.
The symphony is a single-movement work embracing three distinct sections. The first, marked Lento (ma ritmico), is a freely constructed passacaglia built on a flowing theme derived from the tone row that underlies the entire score: Bb-F-E-Ab-G-D-Db-C-Cb-Gb-Eb-A, and which is developed in alternating variations leading to a powerful climax at its close. The second section is, in reality, a tense, hard-driving double fugue characterized by a constant march-like rhythm underlying the further development of the original theme and its countersubject in both duple and triple meters. This section, marked Allegro con fuoco, also ends in an overwhelming climax and then dies away, preparing for the third and final section. This final portion of the music, marked Molto moderato e sostenuto, is based upon two long, lyric themes, also derived from the row, that alternate with occasional reminders of some of the thematic material from the second section, now transformed into a rich, glowing and relaxed tonal tapestry woven together from the myriad of tonal colors available in contemporary scoring practice for the winds. At the very end, after a fortissimo re-statement of the theme in its original form as derived from the row, there is a gradual ebbing of the flood of tone from the full ensemble as the various choirs drop out one by one, leaving only a dark, warm color of low Clarinets, Baritone and Tuba, hinting at the opening of the symphony, together with a last reminder of the original motif in the Bells and Vibraphone, suggesting, for the work as a whole, an arch-form.		Concert band
18821A764A38-8020-4AB9-AC60-5ABB16F23F58A847002Des Knaben Wunderhorn, No. 2: Verlorene Mueh', GMW 22, medium voice (G, transposed)Gustav Mahler (1860-1911) began composing the songs of DES KNABEN WUNDERHORN (THE BOY'S MAGIC HORN) in 1892, finishing in 1901. Comprised of 15 songs total by the end, each sets folktale texts, as published by Achim von Arnim and Clemens Brentano, to music with piano accompaniment, though some also have orchestral accompaniment. The second song, VERLORNE MÜH (WASTED EFFORT), depicts a dialogue between a girl and a lad who rejects her repeated efforts to entice him. This Kalmus edition is transposed to G major for medium voice. Instrumentation: 2(both d. Picc).2.2.2: 2.0.0.0: Perc(1) Str (9.8.76.5 in set): Solo Voice. Reprint edition.2(both d. Picc).2.2.2: 2.0.0.0: Perc(1) Str (9.8.76.5 in set): Solo Voice
18831A77749B-3AF7-4640-9092-C25834B3C20CA701902Latin American Symphonette (Symphonette No. 4)Morton Gould, equally comfortable in the worlds of both "serious" and "light" music, presented his symphonettes (an Americanization of the term "sinfonietta," much like kitchenette and dinette) as works of a truly American vernacular, drawing on popular culture as well as classical forms. His Fourth Symphonette is a departure from the musical language of the previous symphonettes, as it is bursting with latino rhythms, each distinct style in its own movement: I. Rhumba, II. Tango, III. Guaracha, and IV. Conga. Completed in 1940, the work was premiered by the NYA Symphony in New York, under the direction of Fritz Mahler. The saxophones, guitar and piano, although desirable, are optional and fully cued in the other parts. Generally, all parts are well cross-cued so that the work can be performed with a smaller orchestra. Instrumentation in set: 3(1&3 d.Picc).2.3(+BCl).2: 2ASax(dCl).TSax(dCl).BSax(dCl): 4.3.3.1: Timp.Perc.(3): Hp.Gtr.Pno: Str(9.8.7.6.5).3(1&3 d.Picc).2.3+BCl.2: 2ASax(dCl).TSax(dCl).BSax(dCl): 4.3.3.1: Timp.Perc.(3): Hp.Gtr.Pno: Str(9.8.7.6.5 in set)
18841A790369-E1F4-4EAF-99B5-CCD05F73557FMP410010Bird Spirits: Nine Piano Pieces
18851A8D60D8-333C-4726-B2B7-3B33252643F3A833890Ave Maria, Op. 52/6; D. 839 [arrangement for high voice, B-flat]Franz Schubert (1797-1828) wrote the beautiful melody now associated with the Latin "Ave Maria" text in 1825 as part of a setting of seven songs from Walter Scott's narrative poem THE LADY OF THE LAKE, Op. 52. In the song cycle, a young woman named Ellen sings a prayer (called "Ellen's Third Song") to the Virgin Mary, albeit in a German translation of Walter Scott's text. "Ellen's Third Song" opens with the words "Ave Maria," and this may have led to the idea of setting the traditional Roman Catholic prayer "Ave Maria" to the same melody. Whatever the reason is began, the universally recognized song is so frequently performed with the Latin text that many believe it Schubert's original intent. Instrumentation: 1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice. William Ryden has arranged versions for low voice (g) and orchestra and high voice (Bb) and orchestra, both of which are available from the publisher.1.1.1.1: 2.0.0.0: Str (9-8-7-6-5 in set): Solo Voice
18861A9B3710-B688-4AC6-A787-7A48F174F598SS241Extatic Shepherd(not set)Flute Unaccompanied
18871A9BCA1D-1DA6-4A96-A6F4-9E0508655E38R01620Tre Canzone for Chamber OrchestraThe term "canzona" refers to a genre of Italian insturmental music first made popular in the sixteenth century where the composers either merely arranged or completely transformed French chansons, a form of song. In a similar fashion, Claude Baker's "Tre Canzone" provides reimaginings of three vocal compositions form the late Middle Ages, Renaissance, and early Baroque. The preexisting pieces form both the structural and programmatic bases of the composition and serve as points of departure for new musical ideas. Elements of the older music emerge quite clearly at times, while at others they are presented more subtlly. But the texts are the driving force of the work, capturing the essence of the poetry through non-vocal commentary with allusions to the original composers' settings. Movements: I. after Baude Cordier, II. after Claudio Monteverdi, III. after Clement Janequin. Versions for both full orchestra and chamber orchestra are available from the publisher.1(dblPicc).1(dblEH).2(2dblBCl).1: 1.1.1.0: Perc(4): Pno: Str (3-3-2-2-2)
18881AA19045-1997-4DEC-A34B-895B979E8919M986390Finlandia Op. 26 No. 7(not set)Full Orchestra
18891AA95919-734F-40B9-A4D6-35BC2BD9D419W751191POP - See A235691 - Parsifal (Complete)
18901AAB57D8-3799-462C-8F1C-93E0C3ECE39BM311191Elegie, DO 183 in E minorJules Massenet (1842-1912) wrote 10 PIÈCES DE GENRE, Op. 10, for Piano in 1866. No. 5 of that work, titled MÉLODIE, was arranged for voice and piano in 1872, with text by Louis Gallet, and given the title ÉLÉGIE. This arrangement is for voice, piano, and cello (or violin or flute). Reprint edition.Voice, Violoncello (or Violin or Flute) and Piano
18911AAD5183-C223-40D0-A529-7A2D8AC86A5FSC464Say Love If Ever(not set)Satb
18921AAEFB9A-9F42-4DDA-8DD8-33CB8CD9731CW702591Scherzo tarantelle(not set)Violin and Piano
18931AB19AF2-78DA-4FBD-89EA-7BD73FB09C2B52733329Caravan(not set)Cello Quartet
18941AB36B0A-8E7F-4BE1-A47A-F471B1C68BD0M321691In the Bottoms"In the Bottoms" is a Suite of five numbers giving pictures of moods or scenes peculiar to African-American life in the river bottoms of the South. It is similar in its expression, and in a way continuation, of the sentiments already set forth in the "Magnolia Suite," but suggests ideas incidental to life in a more particular geographic territory. Movements: 1. Prelude (Night) 2. His Song 3. Honey (Humoresque) 4. Barcarolle (Morning) 5. Dance (Juba)Piano Solo
18951AB5C0D1-3D06-432D-821C-4F844E218463WM18650Buenos Aires Hora CeroThis breakthrough piece by Argentine composer, Astor Piazzolla, has been arranged for tango band by Tristan Willems.Tango Band: Violin (sub. Clarinet or Alto Sax), Accordian, Guitar, Piano, and Bass
18961ABA73CC-BD63-470E-8FDA-ADA5A618849A50504003Brass Quintets for all OccasionsThese original and standard hymn tunes are perfect for weddings and other occassions. A wide variety of styles help maintain interest.Bb Trumpet 1 and 2, F Horn, Trombone and Tuba (Bass Trombone)
18971ABAA27F-C0C8-4EAE-A02C-68AB4114A8DCB33618 ExercisesThese 18 exercises is probably the composer's most popular work, are good for a life-time of flute playing, and they can be practiced to advantage regardless of level of achievement. Benoit Tranquille Berbiguier (1782 - 1838) was a famous flute player. He was intended for the law, but the love of music being too strong for him, he ran away from home and entered himself at the Concervatoire in Paris. As a composer, he was very fertile in music for his instrument, both solo and accompanied - 11 concertos, many fatasias and variations, 140 duos, 32 trios, with quartets and symphonies. All three of Berbiguier's Trio for Flutes, Op. 51 are available from the publisher (edited by Elwyn Wienandt). 18 Exercises by Berbiguier (edited by Judith Thomas) is also available.Flute
18981ABB359F-580C-47C5-8F87-C52A5B9FCCABLL114To Our Fathers and TheeSatb
18991ABC9A50-3344-4F2B-8C5E-5CAD23C0337ER01374Lyric for Strings: for Young Musicians"Lyric for Strings" is based on the second movement of George Walker's first string quartet. This adaptation of the composer's celebrated work was written especially for youth orchestras by George Walker's son, Gregory T.S. Walker.String Orchestra
19001ACE02F3-524E-4950-84D9-C67CF5A6762AD410002Piano Sonata No. 2, 1st EditionPiano Solo