Three songs on poems by Wayne Koestenbaum including Ballad of the Layette Posh and Blue Sea Songs. Fairouz adds dashes of wit playfulness and quicksilver shifts in harmony and color to these Bari-Tenor songs (performable by high Baritone and low Tenor voices). Three songs on poems by Wayne Koestenbaum including Ballad of the Layette Posh and Blue Sea Songs. Fairouz adds dashes of wit playfulness and quicksilver shifts in harmony and color to these Bari-Tenor songs (performable by high Baritone and low Tenor voices).

Three songs: The Stolen Child (W.B. Yeats) After the Revels (Ibn Shuhayad) We Are Seven (William Wordsworth). c. 15 minutes. Three songs: The Stolen Child (W.B. Yeats) After the Revels (Ibn Shuhayad) We Are Seven (William Wordsworth). c. 15 minutes.

Bassoon and Piano- Sunset Song op.42 for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art Bing Theatre. It is the composer´s second large work featuring the bassoon as soloist (after Hexen ) and like Hexen it isalso dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano. Sunset Song is technically a tour de force for both the bassoon and the piano. It is happy sensuous obsessive and at times mocking - often reflecting the time in which it was written and the events of a Mexico tour that followed the firstperformance during which the piece underwent revisions. The piece starts with an introduction played by the bassoon almost entirely. This introduction uses elements of 1950s pop music. A middle section follows where a static -almost MiddleEastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone with a pitch written two octavesabove the official limit of the instrument’s register. The title Sunset Song was inspired by California’s sunsets and the sun setting on the Pacific Ocean. Sunset Song op.42 for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art Bing Theatre. It is the composer´s second large work featuring the bassoon as soloist (after Hexen ) and like Hexen it isalso dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano. Sunset Song is technically a tour de force for both the bassoon and the piano. It is happy sensuous obsessive and at times mocking - often reflecting the time in which it was written and the events of a Mexico tour that followed the firstperformance during which the piece underwent revisions. The piece starts with anintroduction played by the bassoon almost entirely. This introduction uses elements of 1950s pop music. A middle section follows where a static -almost MiddleEastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone with a pitch written two octavesabove the official limit of the instrument’s register. The title Sunset Song was inspired by California’s sunsets and the sun setting on the Pacific Ocean.

Three songs on poems by Harold Witt (1923-1995) about his children and their activities - learning ballet celebrating a birthday and exploring their backyard universe.

In five movements: Meditaci«n Memorias de Tango Polka Pizzicato Canci«n de Amor and Moto Perpetuo. In five movements: Meditaci«n Memorias de Tango Polka Pizzicato Canci«n de Amor and Moto Perpetuo.

This the central movement from Lux Aeterna is a serene a cappella motet celebrating the Redeemer. --Morten Lauridsen

For bassoon and 2 or 4 percussionists.

Written for the composer's daughter for use in her piano lessons. In seven movements. Intermediate Level. Written for the composer's daughter for use in her piano lessons. In seven movements. Intermediate Level.

For 3 percussionists.1: mar chi ant cym timp chin.small cym conga tamt log dr 2: vib chi ant cym timp chin.small cym bongo wind gong log drum Chinese gong set 3: vib chi ant cym timp chin.small cym tomt log dr chin.gong set

Each of the five connected movements in this choral cycle contains references to 'Light ' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personalcomfort and solace in setting to music these timeless and wondrous words about Light a universal symbol of illumination at all levels - spiritual artistic and intellectual. The work opens and closes with the beginning andending of the Requiem Mass with the central three movements drawn respectively from the Te Deum O Nata Lux and Veni Sancte Spiritus . The opening Introitus introduces several themes that recur later in thework and includes an extended canon on et lux perpetua. In Te Domine Speravi contains among other musical elements the cantus firmus Herzliebster Jesu (from the Nuremburg Songbook 1677) and a lengthy inverted canon on fiat misericordia. O Nata Lux and Veni Sancte Spiritus are paired songs the former an a cappella motet at the center of the work and the latter a spirited jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia . --MortenLauridsen

For flute oboe clarinet viola cello and harp.

For alto voice and string quartet or string orchestra.

Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali . Symbolic images of flames burning and fire recur often in Italian love poems from this era and my cycle on texts employingthis fire motive blends stylistic musical features of the period (word painting modality bold harmonic shifts intricate counterpoint augenmusik etc.) within a contemporary compositional idiom. The music emanates from asingle primal sonority (the Fire-Chord) which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations providing motivic unity to complement the poetic. This cycle ofmadrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts. --Morten Lauridsen

(1993) Performed by bassoonists all over the world Dead Elvis for solo bassoon and small chamber ensemble has become one of the most frequently performed works for bassoon. In this highly original work Daughertyexplores the Sturm und Drang of the hip young genius rock-and-roll Elvis versus the vulgar fat stoned Las Vegas Elvis. For performance of Dead Elvis it has become a tradition for bassoonists to wear anElvis Las Vegas white jumpsuit (easily rented from a local costume store). Duration - ca. 9:00

For solo violin reed organ psaltery (piano) 2 drums 4 marimbas (harp).

Sitar method. Sitar method.

Parts (strings 2-2-2-2-2).

Morten Lauridsen 's O Magnum Mysterium for Concert Band. Score and parts.

Instrumentation: 2 alto sax 1 tenor sax 1 baritone sax

For Bb Soprano (or Bb Tenor) Saxophone and Small Orchestra-This dance-driven saxophone concerto in miniature demonstrates how Villa-Lobos could integrate nearly any instrument into a Brazilian sound world while still composing a fully classical piece. Of the three short movements the first 'Animé ' is the longest clocking in at about four minutes. An agitated downward cascade for the strings ushers in the soloist playing an angular strongly rhythmic theme relying on quickly repeated notes. A second melody is much broader and more luxurious and spreads across half the movement before the opening rat-a-tat theme begins to insinuate itself very subtly into the proceedings again. Even then the more lyrical melody remains in control to the movement's end. The second movement 'Lent ' relies on a sexy chromatic melody that lingers in the soprano saxophone's high register. After only the briefest pause the finale 'Très animé ' arrives with an impulsive sometimes jittery theme over a firm beat. The solo part wanders off into trills while the small orchestra stretches out in long voluptuous chords. But soon the dance rhythm returns stronger than ever bouncing toward a conclusion in which the saxophone departs with an upward flourish seeming to vanish from the movement without providing a harmonic resolution. (James Reel All Music Guide)