In 1972, Paul Simon claimed that "Bridge Over Troubled Water" was his best melody to date. When it was written in 1969, it comforted an America weary of war and civil strife. Such was the power of this song that generations have sought its healing phrases ever since. In this arrangement for flute choir, Judy Nishimura uses gospel music elements to heighten the emotional impact. The compelling legato style of the melody is well suited for flutes. Suitable for church, school, or amateur groups. An optional part for Contrabass flute is included. Duration: 5:00

The popular series 'Souvenir Musical' contains easily playable, yet effective works arranged for piano trio. The editions are addressed to amateur ensembles, lovers of salon music and professional piano trios.
Volume 8 of the popular series 'Souvenir Musical' contains the famous 'Spanish March' in an arrangement for piano trio. A brilliant effective 'Paso Doble'.

Digital publication of the piece found in the following print music collection: Piano Playground - 30 Playful Piano Pieces for Lessons and Concerts.

Spanish.

Is there a choral director or soloist who has not looked for new ideas for warm-up exercises before? Here, you are getting 200 inspirations all at once! And what's more, the creative exercises are more than just 'warm-up' exercises: They help to relax the body, train the ear as well as the dynamism and sense of rhythm. Available in Spanish for the first time!

German - Danish.

To mark .the 250th anniversary of Schott Music, these treasures have been uncovered from the archives, reedited and presented in these beautiful editions. .This anthology is aimed at intermediate to advanced clarinetists looking for some .interesting new discoveries .away from the .standard repertoire. Containing works largely from the Romantic era, these are virtuoso pieces de resistance and encores, expressive character pieces, gems of salon music .and elaborate arrangements of well-known melodies and themes. Many of the original compositions and arrangements were written by major instrumentalists of the 19th century.

My idea of developing music from Richard of Gloucester's monologue 'Now is the winter of our discontent', and of generating more music from that material, was conceived during the 1960s. Ten years later it took a more concrete form, when Julian Bream suggested to me that I should write a substanial new guitar work for him. More time went by, and only having finished 'We Come to the River' could I begin to realise our plan. Then began a collaboration with the instrumentalist that went through various phases, from which I gained a more profound knowledge of the technicalities and of the sound-world of the guitar. I would even go so far as to say that this collaboration gave me a new concept of how to write for an instrument with a rich tradition. The guitar is a 'knowing' or 'knowledgeable' instrument, with many limitations but also many unexplored spaces and depths within these limits. It possesses a richness of sound capable of embracing everything one might find in a gigantic contemporary orchestra. but one has to start from silence in order to notice this: one has to pause, and completely exclude noise.
The dramatis personae of this piece enter through the sound of the guitar as if it were curtain. Through masks, voices and gestures, they speak to us of great passion, of tenderness, sadness and comedy: strange events in people's lives. Into this, the whispering voices of spirits are mingled. The epilogue is spoken by Oberon, pacified and reconciled, as though Nature had been subjected to Man.
- Hans Werner Henze.

ISBN 9781609746599.

This is the first compilation of guitar music specifically composed for right-hand technique that includes the little finger. The 57 compositions include original pieces in the Easy-Intermediate to Intermediate -Advanced levels by renowned guitarist/composers from Europe, North America, South America and the Caribbean. Music by Ernesto Cordero, Carlos Dorado, Jim Ferguson, David Flynn, Gerald Garcia, John Hall, Ricardo Iznaola, James Lentini, John Oliver, Charles Postlewate, Mirko Schrader, Burkhard Buck Wolters and Luis Zea show the advantages of a five-finger technique in the playing of scales, chords, arpeggios, tremolos and harmonics. They also show the advantages of using the little finger for speed, accuracy, strength and balance. All of these compositions are edited and fingered by Postlewate, pioneer in the use of a five-finger technique. This book is a companion to Anthology of Nineteenth Century Guitar Studies for Five Fingers of the Right Hand (MB21153), compiled and fingered by Leonhard Beck and edited by Charles Postlewate. Standard notation only. In English and Spanish.

German.

An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.

The score corresponds to the performance materials from the Complete Edition.
For practical use in rehearsal cues and bar numbers throughout.
The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.
The forewords are given in three languages(German, English, French).
Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.

DIE WALKURE

In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.

The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.

(Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)

ISBN 9781513469072. 8.75x11.75 inches.

This book provides instruction in both plucking and strumming techniques for 5 and 10-string Finnish kanteles. Explanation of musical notation, rhythm, and other elements of music theory are provided for the novice, yet the exercises are scaffolded to provide motivating material for the more experienced musician. In addition to the instructional materials, a number of traditional Finnish tunes are included as well as many familiar melodies. Plus, over twenty arrangements playable by mixed kantele groupings and detailed appendices of chords and chord transitions make this book a solid foundation for learning to play the kantele. Includes access to online audio.

The most beautifulSpanish Christmas carols in one booklet. You and your audience will enjoy theflair of Spanish sounds. The Spanish Christmas carols are unfortunately not yetvery well known in Central Europe but they captivate with their partly flamenco-stylesounds and will certainly surprise your audience. It is a very big joy to playand the sounds give the Christmas party the special touch