An irresistible elemental power emanates from the eleven pieces of the Musica Ricercata composed between 1951 and 1953. The early piano work by the famous Hungarian Gyorgy Ligeti arose from experiments with minimalist structures of rhythm and sound in order to build a New Music from nothing, so to speak, according to Ligeti himself. The effect that he achieves with just a few tones is inspiring. In the first piece, he uses one tone to which is added another tone at the end. In the second piece, the music consists of three tones, in the third of four, up to twelve tones in the eleventh piece. The second piece of the Music Ricercata served as soundtrack for the film Eyes Wide Shut by Stanley Kubrick.

Peteris Vasks has written compositions for organ again and again, whether original works or arrangements of his own works for strings. He drew his ideal sound image and his inspiration from the famous organ of the Cathedral in Riga where the composer has been living for a long time. Like in almost all his compositions, the basic idea of 'Musica seria' is the personal human examination of Creation: on the one hand the beauty of Nature, on the other hand the destruction of Nature by man.
Vasks' organ music does not provide any great difficulties but rather displays an impressive tonal variety of the most intimate, held back sounds to tremendous chordal eruptions.

Hermann Regner, one of the most successful music teachers of the 20th century and pupil of Carl Orff, was dedicated to the fusion of instrumental education and contemporary music. Thanks to his practical compositions, he helped children, young people and amateur musicians gain access to modern music. 'Teddy Music' is a collection of 10 easy pieces for piano duet. A teddy bear leads the musician through the colourful collection in amusing illustrations. The pieces have been written for pupils and teacher, with the pupil's part being very easy and designed for the first or second year. The teddy bear can do a lot of things: he dances, swings, rides, dreams, tells stories and occasionally gets annoyed. A cheerful collection for the first steps in piano duet playing.

The volume 'Klassik fur Kinder' provides young flute players with a selection of 26 easy works for lessons and concerts. The selected pieces range from the Baroque era via the Classical period to the Romantic era. Apart from original pieces, the editors have deliberately included easy arrangements of well-known masterpieces as well in order to facilitate access to the classical concert literature.
The pitch range found in the pieces (not higher than E''') can be easily mastered by pupils from the second year of tuition. The collection is particularly suitable to work on various aspects of interpretation and musical performance.
The enclosed CD contains all pieces as a complete version (for listening) and as pure piano accompaniment (for playing along).
The 'Klassik fur Kinder' series is also available for violin, clarinet, piano, guitar, and most recently for violoncello as well.

English.

Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of Music for Children by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided. it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fifth volume: Songs and pieces making further use of the modes introduced in Vol. 4, with the addition of the more usual forms of the minor scale with the sharpened seventh. The settings of short dramatic scenes concludes the book.

The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces.
The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces. all are chosen for their effective realization by recorder consorts.
136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations.

The two-volume collection 'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.

The two-volume collection .'Romantic Piano Music' draws from the vast repertoire of 19th-century music for piano duet. The 23 pieces include real 'gems' - unjustly forgotten or lesser known works which shall be brought to mind again with these two volumes. As a consequence, rarely played works of great composers such as Schubert, Mendelssohn, Dvorak, Schumann, Brahms, Faure, and Moszkowski are next to hitherto undiscovered compositions by Johann Ludwig Bohner, Heinrich Hofmann, Friedrich Gernsheim or Julius Rontgen, among others. A creative collection to add to the piano duet repertoire.

This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.

This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music.

Item Number: S9.Q25349

25 easy pieces from the Baroque, Classical and Romantic eras, playable in the first three finger patterns in the first position, for violin pupils from the second year of learning. Apart from lesser known works, this edition also contains many popular pieces, such as themes from Vivaldi's Four Seasons, Handel's Fireworks Music and Water Music, Mozart's Magic Flute or Beethoven's Symphony No. 9. This volume's intention is to grant access to classical masterpieces of concert literature with the help of such easy arrangements and spread the joy of classical music. A treasure trove for auditions at schools and music schools.

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.

This popular volume has now been expanded to 31 pages.
As well as easy dances by Bach and Handel, this selection includes pieces by French, Italian and English baroque masters. Pupils will experience an uncomplicated first acquaintance with the polyphonic structure of baroque music. The ornaments are written out in full, in each case keeping within the technical boundaries of this level of development.

Classical music for children: 36 easy pieces from the Baroque to the Romantic era in easily playable arrangements for string trio or beginners' string orchestra. Ideal for early ensemble work, and includes pieces from Vivaldi's Four Seasons, Mozart's Magic Flute and many more!
It is possible to work with these pieces in .flexible string ensembles, as additional parts are available for download:
Viola part .(instead of .Violin 2)
Viola part .(instead of .Violoncello)



CLASSICAL MUSIC FOR CHILDREN - press reviews:

This ideal introduction to much-loved masterpieces will no doubt be welcomed by teachers. - STRINGENDO

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.
DAS RHEINGOLD

"This piano score has been compiled on the basis of the edition of Rheingold in the critical complete edition of the musical works of Richard Wagner (Richard Wagner, Samtliche Werke, Vol. 10, I-II, edited by Egon Voss, Mainz 1988f.). The primary source for the edition of Rheingold in the complete edition was the first print of the score (E) which was published by Schott's Sohne, Mainz in 1873. Unfortunately, the source which would have been of greatest significance for revision purposes could not be utilised in the preparation of this edition. Wagner's autograph fair copy of the score which was included in Ludwig II's estate fell into the hands of Adolf Hitler in 1939 and has never been seen again since 1945. For this reason, it was necessary to make frequent reference to both the so-called compositional sketch (KS) and the first draft of the score (PE). For any questionable interpretations of E in the principle text, the variants in KS and PE have been added in small print or footnotes. This also applies to additional markings and alterations undertaken by Wagner during rehearsals for the first performances in 1876 which were recorded by his assistants, principally by Heinrich Porges. These variants are marked with the sign [1876]. Remarks in quotation marks reproduce Wagner's original comments. At certain points, reference has also been made to the records by Felix Mottl who was also present at the rehearsals and performances in 1876. Further relevant information can be found in the volumes of the complete edition." (Egon Voss, quoted from the foreword of the new Rheingold vocal score. translation by Lindsay Chalmers-Gerbracht)

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)

To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.
The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.
Most pieces can be played after 1-2 years of music lessons. .The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.

To every young musician, the first concert is a special experience. The choice of the 'right' performance piece is of vital importance: It should be technically and musically manageable, make a strong impression and give great pleasure in practising.
The edition .My First Concert .contains easy pieces for trumpet in B flat and piano for music lessons and first auditions. The selection of the works invites the performer on a trip through various music epochs - starting from 16th-century music via Baroque, Classical and Romantic to contemporary music. The musical journey through time ends in pleasant, modern pieces from the areas of pop and rock music which would add variety to lessons.
Most pieces can be played after 1-2 years of music lessons. Approaching the works is made easier by the enclosed CD which contains all pieces as a demo version and as a play-along version with just piano accompaniment. The edition also contains an easy piano part for accompaniment. It is deliberately kept simple so that the piano accompaniment can also be played by students - for example at concerts in music schools or at competitions.

Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians.
Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder.
Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper.
Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.