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Anastasia: An opera in One Act by James H. Wagner. First performed 15 April 1997 at the Eastern Michigan University Opera Workshop Concert directed by Donald Hartmann with the composer at the piano accompanied by Ethan Allen on percussion.

Anastasia: An opera in One Act by James H. Wagner. First performed 15 April 1997 at the Eastern Michigan University Opera Workshop Concert directed by Donald Hartmann with the composer at the piano accompanied by Ethan Allen on percussion.

The Concerto for Piano, Winds, and Percussion is intended as something of a poor man's Rhapsody in Blue. While not as long or as challenging as the Rhapsody, none-the-less, the jazzy sections should drive and swing, the Latin sections should sway, and the slow section should sing like Italian opera. 

Fanfare: Overture to Life was composed by James Hoyt Wagner (1950-). This edition was published by Ayotte Custom Musical Engravings in 2017 and is scored for Concert Band.

Fanfare: Overture to Life was composed by James Hoyt Wagner (1950-). This edition was published by Ayotte Custom Musical Engravings in 2017 and is scored for Concert Band.

Suite in G emerged in 2007-8 under the tutelage of Dr. Pamela Ruiter-Feenstra at Eastern Michigan University. The Courante is dedicated to her. The other movements also bear dedications to individuals who had a significant influence on the composer in the realm of harpsichord/early music: Dr. Gregory Hand, with whom I studied harpsichord while at the University of Michigan; Dr. Martha Folts, who plays the antique instrument with such expression and finesse; and the late Prof. Ellwood Derr, instructor of Eighteenth-Century Counterpoint at University of Michigan School of Music. Performers should play the works in the style of the period they mimic. Hence, articulation and embellishment are encouraged. The guiding principle in rendering these movements should be the dance and operatic aesthetics of the baroque era. All repeats are optional

Suite in G emerged in 2007-8 under the tutelage of Dr. Pamela Ruiter-Feenstra at Eastern Michigan University. The Courante is dedicated to her. The other movements also bear dedications to individuals who had a significant influence on the composer in the realm of harpsichord/early music: Dr. Gregory Hand, with whom I studied harpsichord while at the University of Michigan; Dr. Martha Folts, who plays the antique instrument with such expression and finesse; and the late Prof. Ellwood Derr, instructor of Eighteenth-Century Counterpoint at University of Michigan School of Music. Performers should play the works in the style of the period they mimic. Hence, articulation and embellishment are encouraged. The guiding principle in rendering these movements should be the dance and operatic aesthetics of the baroque era. All repeats are optional

Estudiontina, Op. 191 was composed by Emil Waldteufel (1837-1915). This edition was published by Ayotte Custom Musical Engravings in 2015 and is scored for Concert Band.

Estudiontina, Op. 191 was composed by Emil Waldteufel (1837-1915). This edition was published by Ayotte Custom Musical Engravings in 2015 and is scored for Concert Band.