Roots I : for Piano Trio Score and Parts

Commissioned by the Beaux Arts Trio. Movement titles: I. Walpurgisnacht, II. Blues Waltz, III. Sorrow Song, IV. Calypso Row, V. Bepop

Modus : for Flute, Oboe/English Horn, Guitar I/Mandolin, Guitar II, Violin, and Cello

Commissioned by the Mary Flagler Cary Charitable Trust for the Cygnus Ensemble. Instrumentation: Flute, Oboe/ English Horn, Guitar I/ Mandolin, Guitar II, Violin, and Cello.

Magic Carpet Music

Movement titles: I. Arabesque: II. Air: III. Buenos Aires

I Too Bleed and Hope for Beauty : for Orchestra Full Score

String Symphony No. 3 : Full Score

Originally composed in 2003 for a commission by the Central Iowa Honors Orchestra, David Ott revised the work in 2020. Movements: I. Andante moderato; II. Lento; III. Allegro

Animal Rhapsody for Orchestra

Written for the Richmond Symphony Youth Orchestra, Animal Rhapsody is a three movement work, with each one dedicated to a different animal. Movements: I. The Amur Leopard: II. The Beluga Whale: III. Galapagos Penguin

String Quartet No. 10

Premiere: The Stanford String Quartet, Stanford University, Stanford, CA, January 25, 1989. Recorded by same on Laurel Record (LR-847). Bolcom uses a symmetrical arch form: sections I-VIII are mirrored, in reverse, by sections X-XVII, with the strangely antique (Bolcom) section IX being the keystone movement. Thus, section I has a counterpart in section XVII, II in XVI, and so forth. It is dedicated to his composition teacher at Stanford University, Leland Smith. In 17 short, connected movements.

Excursions : for String Orchestra Full Score

Originally composed in 1989 for a commission by the Northern Virginia Honors Orchestra, David Ott revised the work in 2020. Movements: I. Joyride on the Old Milwuakee RR; II. Sunday Stroll Hand in Hand; III. Off to the Circus!

Ormavi (String Quartet No. 4) : Full Score

Ormavi (String Quartet No. 4) was written for Carpe Diem String Quartet and was completed in December 2017. The work is a tribute tothe great 13th-century Persian music theorist and musician Safialdin Ormavi. The composition consists of eight short movements that are thematically inter-related. I have used some of Ormavi's 13th-century medieval modes and have interpolated these modes with some of the modes of the modern Persian modal system, the DastgÔh system. Movements: I. Hisar 1, II. Osool, III. Hesar, IV. Zirafkand 1,V. Hisar 2, VI. Zirafkand 2, VII. Rooh, VIII. Hora

Ormavi (String Quartet No. 4)

Ormavi (String Quartet No. 4) was written for Carpe Diem String Quartet and was completed in December 2017. The work is a tribute tothe great 13th-century Persian music theorist and musician Safialdin Ormavi. The composition consists of eight short movements that are thematically inter-related. I have used some of Ormavi's 13th-century medieval modes and have interpolated these modes with some of the modes of the modern Persian modal system, the DastgÔh system. Movements: I. Hisar 1, II. Osool, III. Hesar, IV. Zirafkand 1,V. Hisar 2, VI. Zirafkand 2, VII. Rooh, VIII. Hora

One for the Birds : for String Orchestra Full Score

Composer David Ott takes a musically captivating look at four types of birds in his highly creative series entitled, One for the Birds. Movements: I. Relentless Woodpecker (driving and infectious); II. High-Gliding Gossamer(haunting, delicate); III. Song of the Nightingale (romantic serenade); IV. Penguins at Play (lighthearted, capricious)

Four Persian Mystic Poems : for Soprano or Mezzo-Soprano, Lute, Guitar, Percussion and Harp

These settings of Four Persian Mystic Poems by Reza Vali are for solo voice (mezzo-soprano or soprano), a Renaissance or Baroque lute (also claves), guitar/arbat (oud), harp, and percussion: Persian or Kurdish daf (or large framedrum), crotales (or glockenspiel or a bell), large claves, large cymbal, and tom-tom. It was commissioned by the Alba Consort Ensemble. Two other versions are available from the publisher: one for guitar, percussion, piano, harpand voice and one (titled THE MYSTERY OF THE ROSE) for flute, violin and piano. Poems/Movements: I. The Morning Discourse (Hafez); II. Do Not Sorrow (Hafez); III. The Mystery of the Rose (Sepehri); IV. When I Think of the Creator(Rumi)

Lot's Wives : SATB and Cello (Full Score and Cello Part)

Written for the Chapel Choir of University College, Oxford, Giles Underwood, Director of Music. This setting of Pireeni Sundaralingam's poem LOT'S WIVES (about the Sri Lankan Civil War that took place between 1983-2009) was written in June of 2023, during the war between Russia and Ukraine and four months before the escalation between Israel and Palestine. Bruce Adolphe describes the work: As a composer, I was drawn to the way the poem looks back in time as the women look back on destruction, creating a temporal counterpoint of past and present. To set these words, I combined the sorrowful lyricism of looking back to the past with the fierce dissonance of present violence. The cello plays several roles: it triggers memory; it comments on the text and on the music that is sung; it provides accompaniment.

Folk Songs Set No. 10 - Vocal Score

1:a, 2:a och 4:e satsen av Reza Valis verk har här reducerats för röst och piano av Mehran Rouhani, medan 3:e satsen är extraherad från partituret eftersom den satsen endast är för röst och slagverk. Låtar: I. Love Song, II. Sång från Luristan, III. Lament och IV. Populär sång från Teheran. Orkesterversionen spelades in av Janna Baty, sopran, Boston Modern Orchestra Project, Gil Rose, Naxos 8.557224

Da Pacem: Concerto for Cello and Orchestra : Solo with Piano Reduction

Hartke's cello concerto, Da Pacem, takes its title from a Latin hymn that begins Grant peace in our day. It is a reflection on these unsettled and unsettling times. As the work's protagonist, the solo cellist journeys through a considerable variety of musical landscapes. Movements: I. Da Pacem (Fantasia) II. In diebus nostris (Scherzo) III. Quis pugnat pro nobis? (Introduction, Elegy, and Envoi) Commissioned by Oberlin College and Conservatory: the Saint Paul Chamber Orchestra: the Aspen Music Festival, Robert Spano, Music Director and American Composers Orchestra.Hartke's cello concerto, Da Pacem, takes its title from a Latin hymn that begins Grant peace in our day. It is a reflection on these unsettled and unsettling times. As the work's protagonist, the solo cellist journeys through a considerable variety of musical landscapes. Movements: I. Da Pacem (Fantasia) II. In diebus nostris (Scherzo) III. Quis pugnat pro nobis? (Introduction, Elegy, and Envoi) Commissioned by Oberlin College and Conservatory: the Saint Paul Chamber Orchestra: the Aspen Music Festival, Robert Spano, Music Director and American Composers Orchestra.

Da Pacem: Concerto for Cello and Orchestra : Full Score

Hartke's cello concerto, Da Pacem, takes its title from a Latin hymn that begins Grant peace in our day. It is a reflection on these unsettled and unsettling times. As the work's protagonist, the solo cellist journeys through aconsiderable variety of musical landscapes. Movements: I. Da Pacem (Fantasia) II. In diebus nostris (Scherzo) III. Quis pugnat pro nobis? (Introduction, Elegy, and Envoi) Commissioned by Oberlin College and Conservatory: the SaintPaul Chamber Orchestra: the Aspen Music Festival, Robert Spano, Music Director: and American Composers Orchestra.

Annees De Pelerinage: Italie : Italie for String Quartet Score and Parts

Annees de pelerinage: Italie (Years of Pilgrimage: Italy) derives its title from the set of three suites for piano by Franz Liszt in which he musically portrays the strongest sensations and most lively impressions created by his travels to Italy and Switzerland during the period 1835-39. In this composition, each of the four movements explores a particular Italian city or region through, in part, the eyes of other composers who (like Liszt) were inspired to write works based on their own sojourns in the country. There are references, both literal and oblique, to music by Berlioz, Tchaikovsky and Liszt (with a sly wink from Paganini). Serious and playful elements combine in thepiece, with the two inner movements (II. Venezia e Napoli and III. Firenze) providing light-hearted foils to the more somber outer movements (I. Roma and IV. Abruzzo). Annees de pelerinage: Italie (Years of Pilgrimage: Italy) derives its title from the set of three suites for piano by Franz Liszt in which he musically portrays the strongest sensations and most lively impressions created by his travels to Italy and Switzerland during the period 1835-39. In this composition, each of the four movements explores a particular Italian city or region through, in part, the eyes of other composers who (like Liszt) were inspired to write works based on their own sojourns in the country. There are references, both literal and oblique, to music by Berlioz, Tchaikovsky and Liszt (with a sly wink from Paganini). Serious and playful elements combine in thepiece, with the two inner movements (II. Venezia e Napoli and III. Firenze) providing light-hearted foils to the more somber outer movements (I. Roma and IV. Abruzzo).

Tre Canzone : for Orchestra Full Score

The 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 Canzoneprovides reimaginings of three vocal compositions from 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 in others they are presented more subtly. 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 Instrumentation: 3 (2/3 dbl Picc).3 (3 dbl EH).3 (3 dbl BsCl).3: 4.3.3.0: Timp.Perc(3).Pno: Str

Poems of Life : 12 Poems by Judith G. Wolf for Countertenor, Cello, and Orchestra

This piece, along with three others, earned the composer a Grammy for the 2018 Best Classical Compendium. Composer's program note excerpt: Judith G. Wolf's expressive poems take us on a memorable journey through everyday life, the support of family and friends, the joy of love, and the pain of grief and loss. I was moved by her work to compose Poems of Life, an orchestral song cycle that sets to music twelve poems from Wolf's most recent volume of poetry, Otherwise. The poems weave a narrative of eternal love, the pain of loss through death, emotional transformation through grief, and spiritual enlightenment. CONTENTS: Prologue 1. Ethereal 2. Time Slips Away Movement 1 3. Gary Died4. Just Like That 5. Watching for Death 6. Face Movement 2 7. Sisters 8. Forever Gone 9. The Retreat Movement 3 10. The Dream Epilogue 11. Conversation 12. Epiphany. Orchestra accompaniment rental item is available separately from the publisher.

Violin Concerto in D Major, Op. 35 : Critical Edition Violin Solo Part

This new edition of the violin solo part to the Korngold Violin Concerto in D Major is the first-ever to include Jascha Heifetz's performance notations, edited by Endre Granat, one of his star proteges. Born in Austria, Korngold was forced into US exile by the annexation of Austria by the Nazis. He vowed to give up composing anything other than film music until Hitler was defeated. With the end of World War II, he retired from films to concentrate on music for the concert hall. The violin concerto was the first such work that Korngold wrote following some initial persuasion from violinist and fellow émigré Bronislaw Huberman. Korngold was hurt by the assumption that he hadsold his integrity to Hollywood. He was thus determined to prove himself with a work that combined vitality and superb craftsmanship. Korngold composed his Violin Concerto in D major, Op.35, in 1945, dedicating it to Alma Mahler, the widow of his childhood mentor, Gustav Mahler. The work was premiered on February, 15 1947 by Jascha Heifetz and the St. Louis Symphony under conductor Vladimir Golschmann. It received the most enthusiastic ovation in St. Louis concert history at the time. On March 30, 1947, Heifetz played the concerto in Carnegie Hall with the New York Philharmonic conducted by Efrem Kurtz: the broadcast performance was recorded on transcription discs. Heifetz's performance launched the work into the standard repertoire, and it quickly became Korngold's most popular piece. Concerning Heifetz's performance of the work, the composer wrote, In spite of the demand for virtuosity in the finale, the work with its many melodic and lyric episodes was contemplated more for a Caruso than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.