Sheet Music This setting of Psalm 23 (The Lord is my Shepherd) is more musically demanding and technically difficult than some of the well-known choral settings yet obtains an even greater feeling of tranquility. It is scored for solo medium Voice and Piano. Paul Creston (1906-1985) was an American composer of Italian descent. He taught himself composition and music theory while working full-time to support his family meaning his style was independent of any outside influence. His work is noted for its complex and shifting rhythms while retaining a distinctly modern American tonal sound.

Sheet Music Key of E-flat Major. The Twenty-third Psalm arranged for low voice and piano.

Schumann intended the eight pieces of his Noveletten Op.21 (1838) to be performed as a group though they are often successfully performed separately. Edited by Clara Schumann.

Morton Gould 's Postscript from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction. This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall. The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.' After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Two Pianos Four Hands-Two Pianos Four Hands. 2 Copies needed to perform. The Piano Concerto No. 14 in E flat major K. 449 is generally regarded as Mozart's first mature work in the Piano Concerto genre. This edition has been critically revised fingered and the Orchestral Accompaniments arranged for a second Piano by Franz Kullak. Arranged for Two Pianos Four Hands. 2 Copies needed to perform. Please note: two scores needed to perform.

This the second from a trio of Piano Sonatas written in 1783.

Poem for Solo Piano composed in 1923.

For Full Chorus of Mixed Voices and Flute with Piano Organ or Harp optional.

Vocal Part - Les anges dans nos campagnes-This sparkling setting is a buoyant celebration of the season. Perform it with the original French text or English and with piano or chamber ensemble. Available for SATB and SA. Score and Parts for Flute Oboe Hammer Dulcimer Harp and Cello are available separately. Performance Time: Approx. 4:30. This sparkling setting is a buoyant celebration of the season. Perform it with the original French text or English and with Piano or chamber ensemble. Available for SATB and SA. Score and Parts for Flute Oboe Hammer Dulcimer Harp and Cello are available separately. Performance Time: Approx. 4:30.

(Piano reduction). Reduction for Saxophone and Piano. Orchestral or Band parts may be obtained on rental.

2 copies needed to perform-Originally for Organ and Orchestra Barber arranges his own work for Organ and Piano. 2 copies needed to perform. Organ Part with Piano Reduction of Orchestral Parts.

From Amahl and the Night Visitors-Amahl and the Night Visitors was the first opera to be commissioned especially for television. Having its premiere in 1951 it has since become a holiday classic with an enduring story and unforgettable music. This setting of Shepherd's Dance presents the charm and character of the original in an exceptional adaptation for concert band. (Grade 3) (3:00)

Arias for Tenor-Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it showing flow of the language and the mood. The second version is a slow deliberate lesson allowing time for the student to repeat each line. These experienced language coachesadapt the R in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian Pierre Vallet for French Irene Spiegelmanfor German Kathryn LaBouff for English Yveta Synek Graff for Czech and Gina Levinson for Russian. Companion to 50481099 Arias for Tenor .Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it showing flow of the language and the mood. The second version is a slow deliberate lesson allowing time for the student to repeat each line. These experiencedlanguage coachesadapt the R in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian Pierre Vallet for French Irene Spiegelmanfor German Kathryn LaBouff for English Yveta Synek Graff for Czech and Gina Levinson for Russian. Companion to 50481099 Arias for Tenor .

Once a popular encore piece for the great pianist Vladimir Horowitz Moritz Moszkowski's Etincelles or Sparks is a character piece with a 'sparky' staccato theme.

For viola and orchestra (piano reduction). This Vivaldi Concerto is a work of contrasts from the lively first-movement Allegro to the slow movement's Largo and the very fast final movement. It is edited by Leonard Mogill.

No. 3 from Night Songs-Performed by the National ACDA Elementary Honor Choir in 2005 this is the third selection in the Night Songs suite. Swirling sounds dance in this buoyant setting of poetry by Leslie Perkins. Performace Time: Approx. 3:00 Performed by the National ACDA Elementary Honor Choir in 2005 this is the third selection in the Night Songs suite. Swirling sounds dance in this buoyant setting of poetry by Leslie Perkins. Performance Time: Approx.3:00

Low Voice (in G) and Organ-Sheet Music In G Major.

Sheet Music In the Key of E flat.

Low Voice in F with Piano-Version for Low Voice and Piano in the key of F major.

Two Pianos Four Hands. Includes set of parts for each player. Fantasy For Piano And Orchestra (Op. 32) was commissioned by the New York High School of Music and Art and first performed in the Carnegie Hall in 1942. Unfortunately like so many good works of the era it has since fallen out of favour and hasn’t been performed since the 1960s. It has been arranged here for two Pianos but retains its tuneful modern appeal. Paul Creston (1906-1985) was an American composer of Italian descent. He taught himself composition and music theory while working full-time to support his family meaning his style was independent of any outside influence. His work is noted for its complex and shifting rhythms while retaining a distinctly modern American tonal sound.