This is an arrangement of this beautifully lyrical song.  It is well-known that Hahn was a pasticheur, and this example of French mélodie style works well for the clarinet ensemble.

Faced with the same instrumentation as Messiaen’s iconic Quartet for the End of Time, composed in a POW camp during World War II, Ellen Taaffe Zwilich was moved to give voice to those less fortunate

The slow movement from Benson’s Concertino, Aeolian Song has long been a standard in the saxophone repertoire, and for good reason. It is entrancingly beautiful, and a joy to play. Typically heard for

AIR was originally composed for flute and organ in 2008, and later adapted for flute or violin solo with orchestra. This version with piano was created by the composer in conjunction with the orchestration.

AIR was originally composed for flute and organ in 2008, and later adapted for flute or violin solo with orchestra. This version with piano was created by the composer in conjunction with the orchestration.

The sparkling verve and freshness of BLOOMING REFLECTIONS are as strikingly delightful as the imagery evoked by the work’s title. While Nishimura’s imagination leads performers and listeners

THE BONES OF MR. FORTUNE (FREE AT LAST!) is an 11-minute concerto-like work for solo flute accompanied by symphonic winds and percussion – perfect to play with band or with orchestra, as well as with

A major addition to the saxophone concerto repertoire, Zwilich’s three-movement work is inspired by her early experience playing in big bands, along with a love of rich textures and driving rhythms

When the Philadelphia Orchestra premiered Liebermann's CONCERTO FOR VIOLIN featuring soloist Chantal Juillet and conductor Charles Dutoit, the Philadelphia Inquirer forecast the work would have “a

Grief and gratitude for a departed friend mingle in this short yet impactful solo. Textures and harmonic turns are fresh and unexpected, though never jarring and always from the heart. Composed in

Adapted by acclaimed pianist Lara Downes from the original work Especially Do I Believe in the Negro Race by Margaret Bonds. This is the lyrical second movement from Bonds' larger work "Credo" on

DUNHUANG FANTASIA is a fascinating 12-minute drama inspired by art from grottoes in the ancient town of Dunhuang in western China. These frescoes preserve images of music and dance scenes, including the

Chen Yi’s ELEGY was composed in 2020 both as her own response to the covid pandemic, and in conjunction with the Saint Paul Chamber Orchestra’s series of solo commissions for their performers

This gem of a collection was commissioned for Juilliard’s pre-college Music Advancement Program. The ever-imaginative Hailstork has created a book of 11 short, contrasting works for performance, at a

This arrangement of the famous Arrival of the Queen of Sheba from "Solomon" is not always faithful to the original, as it is not just a transcription and has been slightly shortened to make it

Bach's glorious flute obbligatos are entwined with the vocal lines of some of his greatest arias. In this edition of six cantata obbligatos, the keyboard arrangements provide a sensitive reduction of the

Based on Bassani’s 1962 novel, THE GARDEN OF THE FINZI-CONTINIS dramatizes the true story of a prosperous Jewish family’s disruptions and consequences from state-mandated antisemitism in Italy

Composed in honor of the composer's former teacher Donald Erb, Peterson's 4-minute solo work is a dazzling yet idiomatic etude, and great fun to play. Available in versions for bassoon, bass clarinet, and

Schocker has added a major work to the bass flute repertory: an 11-minute piece in three movements encompassing neoclassical, jazz, and Latin dance styles. The wide range of moods offers opportunities to

Commissioned by The Juilliard School’s Music Advancement Program, IMPRESSIONS FROM THE CHINESE ZODIAC is a suite of three characteristic pieces within reach of advanced pre-college saxophonists, and

A long-established standard for low clarinets, IN A DEEP FUNK has been transcribed for low saxophones by the Australian virtuoso Yo-Yo Su. The work is modeled in concept after Bach’s cello suites,

Amlin’s dazzling moto perpetuo brilliantly weaves together a pair of trumpets, at times playing in harmony, at times spelling each other through subtle dovetailing of phrases, and always maintaining

Amlin’s affinity for the warm, rich voice of the viola mixes with his mysterious, beautiful modernism in this 2-minute change- of-pace gem featured on Michelle LaCourse’s “An American