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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
19611BC0BC60-3741-4C29-9EF9-30D6F7338E99B431La Grande VelociteA progressive work of technique built on scales and arpeggios for the flute.Flute
19621BC5AA5E-B516-4FB5-A940-1E0CA8304AE4SS554A-mayingThis arrangment for an intermediate flute quartet keeps the melody in the 1st flute for the entire piece, with the other three flutes offering accompaniment roles. It is part of the Clifton Williams Master Composer Series.Flute Quartet
19631BCB6F9B-A975-4037-949B-31B0D833C570S791CBFolksongs for Band Suite No. 1Concert Band
19641BCD23C9-E4F0-49B4-9977-874F558EF284A18CConcerto No. 1 in a MinorAccolay's Concerto in A minor (1868) is "one of the most enduring of all tutorial violin concertos, it is still regularly studied today. Though its executant demands are slight, this agreeably spontaneous piece highlights one of music's great paradoxes - that expressive power often derives from the simplest of technical means."- from liner notes for Itzhak Perlman's recording of "Concertos from My Childhood." This transcription by Robert Klotman scores instruments commonly found in a school setting. Includes piano reduction for rehearsal only.Full Orchestra and Violin Solo
19651BD36E87-C144-4299-A191-5B9CFB036F39O25For Rich Or Poorer (out-of-print)Jazz Band
19661BD6CB91-2E18-4AF0-8B4D-A1A459A09590S102001Sonnet for Oboe and Bassoon
19671BDBBB73-95F2-4064-AA6C-FFF3DFBCCD17MP642702Trauermarsch for Mixed QuartetTrauermarsch (1973) by William Bolcom. Premiered by Bach's Uncle at Alice Tully Hall, NYC.Flute, Oboe, Electric Cello, Electric Harpsichord
19681BDD37B5-2080-4C68-9279-E4A0FD751502R01544Segah, Double Concerto for Persian Ney, Kamanche, and OrchestraThe Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segâh has no interval in common with the European/ Western equal-temperament tuning.

This lack of common intervals between the Segâh mode and the equal-temperament tuning will lead to a “cognitive dissonance” if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systems and use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures.

The piece consists of two Persian traditional instruments, the Ney (Persian vertical bamboo flute), and the Kamânche (Persian spike fiddle), as the musical representatives of the Persian culture, set against the Western orchestra, as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp, and string quintet accompanies the Persian instruments. The harp is tuned to the Segâh intervals and the string quintet plays in the Segâh mode. The orchestra is performing in the Western equal- temperament tuning.

From the very first bars of the main section of the piece, confusions and misunderstandings arise. The orchestra, being unable to play in Segâh, or understand the mode, becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musical violence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists’ efforts to express their musical thoughts.

In the midst of all these confusions and cultural misunderstandings, musical connections and attractions start to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each other’s musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing the gradual replacement of the “clash of civilizations” with the “dialogue of civilizations”. Segâh was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15, 2016.		Ney (Persian Flute) and Kamanche (Persian/ Turkish spike fiddle) soli: 2(2dPicc).1dEH.2(1dCl in A, 2dBcl).2(2dCbsn): 1.2.2.1: Timp(dPersian Frame Drum).Perc(2).Pno.Hp: Str
19691BDF3F82-2C36-45AA-AE3A-52ACD9B16C7DM289791Ballade and Serenade, Op.3Bohemian composer and violinist Josef Suk (1874-1935) studied under Antonín Dvo?ák, eventually marrying the master composer's daughter. This early work (1890, 1898) for cello and piano begins with the sombre Ballade, followed by the playful Serenade.Violoncello and Piano
19701BE4BDC6-AD82-4B5D-AB40-ADAEE2D8B490EBM0610139Ragomania: A Classic Overture for OrchestraWhen one thinks of William Bolcom, one often thinks of ragtime and the use of an array of popular American styles. This Festival-Overture is the only "orchestral" work by Bolcom in which his direct attention to popular music is on full display - fitting for a Pops concert. Premiered by the Boston Pops under John Williams, and dedicated to Eubie Blake & to the memory of George Gershwin.2+Picc.2+EH.2+BCl.2+Cbsn: 4.3.3.1: Timp.Perc(4): Gtr(opt).Pno(opt).Hp(opt): Str
19711BEEC11C-1FEB-4D5A-AB48-60EDD77F16F5S135MBBig Purple(not set)Marching Band
19721BF10E3B-0D34-41A9-8E3C-B22BA284F34BA229202Pelleas et Melisande, CD 93/ L 88Claude Debussy's (1862-1918) Pelléas et Mélisande adapted Maurice Maeterlinck's play of the same name in which Prince Golaud marries a mysterious young woman, Mélisande, but becomes jealous of his half-brother Pelléas when he suspects a relationship between the two. Maeterlinck's play was in prose rather than verse, which allowed Debussy to use the text directly unlike others of his time. After Debussy completed a short score of his only opera in 1895, the full orchestration and revisions were made for the premiere given on April 30, 1902 at the Théâtre de l'Opéra-Comique in Paris, France. Noteworthy for the absence of arias and set pieces, Pelléas et Mélisande is still regularly staged today. Vocal score.Vocal Soli (8 roles SSATBBBB): Chorus: Piano or Orchestra accompanimment
19731BF6B490-6D6A-4B2D-B594-9F7489433A9EB354102Irish Suite: II. Minstrel Boy (band version) - NOP see Alfred 00-32547concert band
19741BF8D468-0E6B-4950-BC97-1813FF8D36EEX410118Blue Johannes for Solo PianoBLUE JOHANNES was written for Marcel Worms and completed in August of 2012. The piece consists of a combination of diverse musical elements: blues, Persian folk melodies, tango, etc… It is a blues "hommage" to Johannes Brahms, whose music Reza Vali loves. A version for harpsichord is also available from the publisher.Piano
19751BFA1050-C639-418E-B1DD-FC2BC6B59C09SU368CONo Exit(not set)8P
19761C000474-1C66-4860-B04C-FC68FDA0118850502001Trio for BrassThis mixed brass trio (trumpet, horn, trombone) shows Fisher Tull's genius as an orchestrator and his mature compositional style.Brass Trio
19771C001EF4-EFDF-4CA7-BB63-9536274C5375S472MBKansas Can and Kansas WillBernie Taylor and Mack Wolfson's march has been here arranged for marching band by James Barnes.Marching Band
19781C0101A8-2418-4DBA-AC02-C42F4440D578S532CBFeast of TrumpetsThe Feast of Trumpets is the fifth Hebrew feast known as Rosh Hahonah. All the melodic work is based upon the traditional shofar calls. The word "trumpets" in the title does not refer to our trumpets, and most of the "trumpet" calls appear in the horns. The title comes from the King James Version which refers to rams' horns as trumpets.Concert Band
19791C017F02-8B11-4450-833D-D2BFB514A400B127802Loyal Legion March(not set)Concert Band
19801C0261B9-ECC8-4823-912A-5B78333E1766M322691Bouquet Americain(not set)Violin and Piano