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John Corigliano: Christmas At The Cloisters

For SATB Chorus and Piano. Poem by William M. Hoffman.

John Corigliano: Song To The Witch Of The Cloisters

Song Number 2 from The Cloisters for Voice and Piano. Poem by William M. Hoffman.

John Corigliano: The Unicorn

Song Number 4 from The Cloisters for Voice and Piano. Poem by William M. Hoffman.

John Corigliano: Fort Tryon Park: September

Song Number 1 for The Cloisters for Voice and Piano. Poem by William M. Hoffman.

John Corigliano: Christmas At The Cloisters (Voice)

Song number three from The Cloisters for Voice and Piano. Text by William M. Hoffman.

Georges Bizet: Agnus Dei (High Voice)

Bizet's setting of the Agnus Dei is presented here in F for High Voice, adapted in English by M. Bristol.

Love Is Come Again A Cappella

Love Is Come Again with lyrics by J. M. C. Crum , arranged by Robert Shaw and Alice Parker for SATB choir a cappella.

John Corigliano: The Ghosts of Versailles

Suggested by La Mère coupable of Pierre-Augustin Caron de Beaumarchais. Libretto by William M. Hoffman. Commissioned by the Metropolitan Opera Company for its 100th anniversary.

John Corigliano: As Summer Brings A Wistful Breeze

Duet for Two Sopranos (Or Soprano and Mezzo-Soprano) and Piano. From John Corigliano's stunning opera, The Ghost of Versailles, with a libretto by William M. Hoffman.

Medeas Dance of Vengeance, Op. 23a

Full Score. Transcribed for Concert Band by Frank M. Hudson. Other scores available: Orchestra (50339360) and Original Ballet Version - Chamber Ensemble (50481467). Performance Materials available on rental. Duration ca. 13 minutes.

Galante Rossano The Redwoods Full Score

Rossano Galante 's The Redwoods for Orchestra. The Redwoods was commissioned in 1998 by the North Tonawanda High School Band under the direction of Norman Alexander. This work, inspired by the beauty, power and majesty of the Redwood - the most remarkable of trees - begins with a heroic-romantic Trumpet melody accompanied by Woodwind arpeggios, punctuated by Brass rhythms. After a transition, the opening melody is followed by the rich, lush, main theme (m.29) which is stated by the Horns and Woodwinds. After the main theme has undergone variations in orchestration, a new section follows (m.65), with the upper Woodwinds playing a second, delicately stated theme reminiscent of a music box. The new theme is heard just once more (m.73) but played in a heroic manner by the Trumpets and Trombones, in juxtaposition of the original 'music box' statement. The main theme recapitulates in a similar heroic manner (m.82), and as each theme returns it is heard with a change of instrumentation and accompaniment. After the final thematic statement, a Brass fanfare brings us to the end of the piece, which culminates in a grand climax.

Sigurd M. Rascher: 158 Saxophone Exercises

Exercises for the Saxophone player to develop various aspects of technique. These Studies are written in quavers and without bar-lines: the players is expected to use his musicality and imagination in setting them to rhythms of his choice.

Balada Concerto Pf/Winds/Perc M/S

J. S. Bach: O Jesu Christ, My Life And Light (Cantata No. 118)

Although designated a Cantata, this piece for SATB choir is more in the style of a motet. It is composed (and is still suitable) to be played at a funeral, the text by Martin Behm being appropriate to this situation. Bach's original orchestration for the accompaniment - two Litui (high horns) Cornetto and three Trombones - is here arranged for Organ or Piano by Ifor Jones, who also (with J. M. Stein) translated the text.

Johann Sebastian Bach: French Suites

These six little Suites, to which, in the course of time, the by-name 'French' was applied because they were written in the French Style of that period (being similar to those by F. Couperin), are here presented in a new edition after an original MS., with emendations by J.S. Bach's own hand, said MS. having been found among F. W. Rust's literary remains. It contains, however only the first four Suites, the fifth and sixth, added later to the series by Bach, owe much of their corrections to an old edition by M. Clementi.On the whole, the style of these Suites is free, rather than scholastic, and they are of moderate technical difficulty.