Digital Pack includes:

1. Celebration Fanfare (On a Theme by Haydn) - Flute 2
2. Celebration Fanfare (On a Theme by Haydn) - Conductor Score (Full Score)
3. Celebration Fanfare (On a Theme by Haydn) - Piccolo
4. Celebration Fanfare (On a Theme by Haydn) - Oboe 1
5. Celebration Fanfare (On a Theme by Haydn) - Oboe 2
6. Celebration Fanfare (On a Theme by Haydn) - Bassoon 2
7. Celebration Fanfare (On a Theme by Haydn) - Bassoon 1
8. Celebration Fanfare (On a Theme by Haydn) - Bb Clarinet 1
9. Celebration Fanfare (On a Theme by Haydn) - Bb Clarinet 2
10. Celebration Fanfare (On a Theme by Haydn) - Flute 1
11. Celebration Fanfare (On a Theme by Haydn) - F Horn 3
12. Celebration Fanfare (On a Theme by Haydn) - F Horn 4
13. Celebration Fanfare (On a Theme by Haydn) - F Horn 2
14. Celebration Fanfare (On a Theme by Haydn) - Trombone 2
15. Celebration Fanfare (On a Theme by Haydn) - F Horn 1
16. Celebration Fanfare (On a Theme by Haydn) - Trombone 1
17. Celebration Fanfare (On a Theme by Haydn) - Percussion 2
18. Celebration Fanfare (On a Theme by Haydn) - Percussion 1
19. Celebration Fanfare (On a Theme by Haydn) - Mallet Percussion 1
20. Celebration Fanfare (On a Theme by Haydn) - Mallet Percussion 2
21. Celebration Fanfare (On a Theme by Haydn) - Tuba
22. Celebration Fanfare (On a Theme by Haydn) - Trombone 3
23. Celebration Fanfare (On a Theme by Haydn) - Baritone T.C.
24. Celebration Fanfare (On a Theme by Haydn) - String Bass
25. Celebration Fanfare (On a Theme by Haydn) - Baritone B.C.
26. Celebration Fanfare (On a Theme by Haydn) - Timpani
27. Celebration Fanfare (On a Theme by Haydn) - Eb Baritone Saxophone
28. Celebration Fanfare (On a Theme by Haydn) - Bb Trumpet 1
29. Celebration Fanfare (On a Theme by Haydn) - Eb Alto Saxophone 1
30. Celebration Fanfare (On a Theme by Haydn) - Eb Alto Saxophone 2
31. Celebration Fanfare (On a Theme by Haydn) - Bb Clarinet 3
32. Celebration Fanfare (On a Theme by Haydn) - Bb Bass Clarinet
33. Celebration Fanfare (On a Theme by Haydn) - Bb Contra Bass Clarinet
34. Celebration Fanfare (On a Theme by Haydn) - Bb Tenor Saxophone
35. Celebration Fanfare (On a Theme by Haydn) - Bb Trumpet 3
36. Celebration Fanfare (On a Theme by Haydn) - Bb Trumpet 2

This album contains 5 of Johann Sebastian Bach\'s most famous and versatile pieces for saxophone quintet, all very well suited for the beginners who want to get to know the baroque repertoire. They are also suitable for performances at events such as: weddings, Christian and church ceremonies, Easter, and academic recitals or concerts. They can be used in music institutions and by teachers as repertoire material and study methods, either for performance or instrumental technique. This collection includes a totally free bonus for you to enjoy: Martin Luther\'s A Mighty Fortress is Our God, a Renaissance sacred song for choir, which has been adapted for this set. You can also buy each one individually by checking right at the end of each description of each work.

1: Air on the G String - The original piece is part of Johann Sebastian Bach\'s Suite No. 3 for orchestra, in D Major, BWV 1068, written for Prince Leopold of Anhalt. The so-called \"Air on the G String\" dates from one of these latter employments. In the service of the Prince of C�then, Bach composed not only the famous Brandenburg Concertos, but also several orchestral suites, from the third of which comes the \"Air on the G String\". This curious title derives from a later arrangement of this piece for violin solo, in which the melody is played entirely on the lower, higher string of the instrument. ID: S0.1189781

2: Arioso - The Cantata 156 (BWV 156) was written for the third Sunday after Epiphany in 1729, and was first performed on January 23 of that year. The text is by Picander, one of Bach\'s favorite librettists. Of the four cantatas written by Bach for the feast, it was the last and only one scored for solo voice. This is a choral cantata, employing a choral melody in several movements. Cantata 156, in fact, employs two different choral melodies and texts in the second and sixth movements. A cantata is a sung symphony consisting of several parts, one of which is the Arioso, which is the initial instrumental part. ID: S0.1189985

3: Jesu, joy of man\'s desiring - This is one of Bach\'s most beautiful cantatas, made famous by the Jesus the Joy of Men chorus. It was originally composed for Advent 1716 in Weimar. Years later, already in Leipzig, Advent was tempus clausum, there was no music in the churches. Bach then reworked it for the Feast of Mary\'s Visitation. It is the final chorale of the cantata \"Herz und Mund und Tat und Leben\". Although it is the 32nd cantata composed by Bach, of those that have survived, it was given BWV 147 in the complete catalog of his works. ID: S0.1190041

4: O Jesulein s�ss, o Jesulein mild - The Jesulein s��, the Jesulein mild is an original traditional German choral melody for voice and continuous bass arranged by Johann Sebastian Bach around 1735. With lyrics by Valentin Thilo, O Jesulein s�ss is a sacred melody adapted and catalogued as BWV 493. The first translation is by Dirk van Hogendorp, who made it more of a song for the time of suffering. ID: S0.1190181

5: Minuet in G major - This famous piece has traditionally been attributed to Johann Sebastian Bach, as it appears in the Notebook for Anna Magdalena , a notebook that Bach gave to his wife Anna Magdalena in 1725 and which was to be filled with the favorite selections of Bach family members. However, recent research has concluded that this minuet, sometimes referred to as BWV Anhang 114. was probably composed by Christian Petzold, a German composer and organist contemporary with Bach. ID: S0.1190377

Bonuses: A Mighty Fortress is Our God, by Martin Luther - Ein feste Burg ist unser Gott is a hymn written by Martin Luther probably before 1529. The melody was also considered his work for a long time, but it was created at least with the collaboration of Johann Walter. The song is of great symbolic power for Protestantism.

Digital Pack includes:

1. Rhapsody On A Theme by Gustav Holst - Conductor Score (Full Score)
2. Rhapsody On A Theme by Gustav Holst - Violin 1
3. Rhapsody On A Theme by Gustav Holst - Violin 2
4. Rhapsody On A Theme by Gustav Holst - Violin 3 (Viola Treble Clef)
5. Rhapsody On A Theme by Gustav Holst - Viola
6. Rhapsody On A Theme by Gustav Holst - Cello
7. Rhapsody On A Theme by Gustav Holst - Bass
8. Rhapsody On A Theme by Gustav Holst - Piano

Digital Pack includes:

1. Fantasia on a Theme by Thomas Tallis - Full Score
2. Fantasia on a Theme by Thomas Tallis - Violin 1
3. Fantasia on a Theme by Thomas Tallis - Violin 2
4. Fantasia on a Theme by Thomas Tallis - Violin 3 (Viola Treble Clef)
5. Fantasia on a Theme by Thomas Tallis - Viola
6. Fantasia on a Theme by Thomas Tallis - Cello
7. Fantasia on a Theme by Thomas Tallis - Bass
8. Fantasia on a Theme by Thomas Tallis - Piano

Contains Le Roi Lear: Pr�lude,Premi�re Fanfare, and La Mort de Cord�lia,Toomai des �l�phants, Rodrigue et Chim�ne: Pr�lude � l?acte 1p. Le Martyre de Saint S�bastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septi�me regrettent!!!, Petite Valse,F�tes galantes, and Pr�lude � ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Presto from "Concerto in D minor BWV 974" after A. Marcello's Concerto for Oboe and Strings transcribed for piano as played by V�kingur �lafsson.

Chorale Prelude BWV 639 ?Ich ruf zu dir, Herr Jesu Christ? (Transcr. by Ferruccio Busoni) As played By V�kingur �lafsson (for Piano Solo).

In this Busoni's transcription that emphasise lush, organ-like sonorities on the piano. Enjoy!

Puccini's gorgeous string quartet Crisantemi (Chrysanthemums) has been skillfullyadapted for string orchestra by L. C. Harnsberger. This is one of Puccini'srare instrumental works that has unfortunately been overshadowed by his numerous operas.Audiences will be mesmerized by the beautiful melody and bold chromaticism.Crisantemi was written as an elegy for the 1890 death of Puccini's friend theDuke of Aosta (formerly King Amadeo I of Spain). Puccini claimed that he was so moved by the passing of his friend that he composed the entire piece in one night. Crisantemi features a wide emotional and dynamic range which makes it a perfect addition to any concert.

An arrangement by John Pinno of Adagio by Tomaso Albinoni (1671-1750) and Remo Giazotto (1910-1998) for two classical guitars. This comes with a full score and individual guitar parts with full left and right hand fingerings. This was inspired by the recording in the mid 1960s for two classical guitars by Ida Presti and Alexander Lagoya.

Isaac Alb�niz (1860? 1909) �, senza dubbio, il vero fondatore della musica spagnola moderna.

Bambino prodigioe instancabile viaggiatore, la sua opera � impregnata dei colori e dei saporidella Spagna, paese che ha amato profondamente per tutta la vita. L?influenzadel Flamenco � accertata: Alb�niz era un habitu� delle taverne dove si cantavae suonava questo genere. ASTURIAS, ispirato dalla Grana�na (stile flamenco di Granada) � uno di quei brani che ha superato i confinidella musica prettamente classica, raggiungendo un pubblico planetario.

Questatrascrizione, pur conservando alcune idee geniali di Andr�s Segovia (latonalit� di Mi minore, le terzine a partire dalla terza frase, gli armonicinella sezione centrale), presenta una scrittura chitarristica pi� precisa, curatanei minimi particolari e una maggiore coerenza con l?originale. Diteggiature esoluzioni nuove per la mano sinistra danno vita a una partitura fresca, riccadi sonorit� inedite.

Bojano, 16 Settembre 2020.

Flavio Sala.

* * *

Isaac Alb�niz (1860 - 1909) is, without doubt, the truefounder of modern Spanish music.

Child prodigy and tireless traveler, his works are full of colorsand flavors of Spain, a country he has deeply loved all his life. The influenceof Flamenco is proven: Alb�niz was a regular in taverns where this genre wassung and played. ASTURIAS, inspired by the Grana�na(flamenco style of Granada) is one of those pieces that went beyond theboundaries of purely classical music, reaching a global audience.

This transcription, while retaining some brilliant ideas ofAndr�s Segovia (the key of E minor, the triplets starting from the third phrase,the harmonics in the central section), presents a more precise guitar writing,with attention to the smallest details and greater coherence with the original.New fingerings and solutions for the left hand give life to a fresh score, fullof new sounds.

Bojano, September 16,2020.

Flavio Sala.

ANDANTE from Organ Sonata No. 4, BWV 528: II. (Transcr. Stradal) - as played by V�kingur �lafsson.

Watch pianist V�kingur �lafsson (?Artist of the Year? at the Gramophone Awards 2019) perform the Andante from Bach's Organ Sonata No. 4, as transcribed for the piano by August Stradal, from his album 'J. S. Bach - Works and Reworks'. The video was directed by Magn�s Leifsson.

V�kingur �lafsson ? Bach: Organ Sonata No. 4, BWV 528: II. Andante [Adagio] (Transcr. Stradal)Discover 'Bach: Works and Reworks": https://DG.lnk.to/bach-deluxeSubscribe here ? The Best Of Classical Music: http://bit.ly/Subscribe_DG More from V�kingur �lafssonMore from V�kingur on Instagram: https://www.instagram.com/vikingurola...More from V�kingur on Facebook: https://www.facebook.com/vikingur.ola...More from V�kingur on Youtube: https://www.youtube.com/vikingurolafssonConcert dates on his website: https://vikingurolafsson.com/

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

This is a PDF DOWNLOAD for the sheet music of ?NOCTURNE by Frederick Chopin for Piano Solo. This is a file you print from home.

By purchasing this sheet music, you agree to not fileshare via the internet through email, file sharing sites, or giving duplicate copies to your friends.

Jeza personally transcribes, notates, and edits all of her songs. Please honor Jeza Sygrynn Bigueras efforts as an independent musicians by purchasing this product Thank you for your support!

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.



https://youtu.be/qTwqBVt2Clw

Choralvorspiel ?Wachet auf, ruft uns die Stimme?

Trancribed By Ferruccio Benvenuto Busoni - For Piano

Wachet auf, ruft uns die Stimme, BWV 645 adheres pointedly to the melodic and rhythmic contours of one of Bach?s most indelible chorales.

"Wachet auf, ruft uns die Stimme" (literally: Awake, the voice is calling us) is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie sch�n leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, Awake, for Night Is Flying" (Catherine Winkworth, "Wake, O wake! with tidings thrilling" (Francis Crawford Burkitt, 1906), and "Up! Awake! From Highest Steeple" (George Ratcliffe Woodward, 1908). Johann Sebastian Bach based a chorale cantata on the hymn, Wachet auf, ruft uns die Stimme, BWV 140, one of its many settings for organ and for voices.

Flavio Regis Cunha is a pianist, conductor and composer from S�o Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunha

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

This arrangement was adapted for a wood quintet ensemble, ideal to be performed at weddings and by groups of music beginners, which does not prevent it from being performed by professionals in the area. The piece has approximately 2 minutes and 33 seconds of duration, being in a comfortable time for those performing it, so that there is no difference between this version and the composer's original.

The Four Seasons, Italian Le quattro stagioni, group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives a musical expression to a season of the year. Unusually for the time, Vivaldi published the concerti with accompanying poems (possibly written by Vivaldi himself) that elucidated what it was about those seasons that his music was intended to evoke. This movement is illustrated textually in a sonnet with the following description:

Standing quietly and contentedly by the fire
While outside the rain bathes everything;
Walk on the ice with slow step
For fear of falling in the attempt.
To feel when going out through the stinging door,
Sirocco, Borea, and all the winds at war;
That this is winter, but such, that joy door.

This arrangement was adapted for a wood quintet ensemble, ideal to be performed at weddings and by groups of music beginners, which does not prevent it from being performed by professionals in the area. The piece has approximately 2 minutes and 33 seconds of duration, being in a comfortable time for those performing it, so that there is no difference between this version and the composer's original.

The Four Seasons, Italian Le quattro stagioni, group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives a musical expression to a season of the year. Unusually for the time, Vivaldi published the concerti with accompanying poems (possibly written by Vivaldi himself) that elucidated what it was about those seasons that his music was intended to evoke. This movement is illustrated textually in a sonnet with the following description:

Standing quietly and contentedly by the fire
While outside the rain bathes everything;
Walk on the ice with slow step
For fear of falling in the attempt.
To feel when going out through the stinging door,
Sirocco, Borea, and all the winds at war;
That this is winter, but such, that joy door.

The Butterfly, composed by Alexander Ilyinsky (Ilynsky) 1859-1919, a Russian Composer, for Bb Clarinet and Piano. Advanced Level. Edited by Seunghee Lee. Piano Score (8pages) Clarinet in Bb (4pages). Published by Musica Solis. .

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

Soprano wind orchestra/wind ensemble - Medium/Intermediate - Set of Parts - Digital Download
Composed by Gabriel Faure (1845-1924). Arranged by Marcelo Jardim. Impressionistic, Christian, Sacred.and#65279;

Faur� composed his Requiem in D minor Op 48, between 1887 and 1890. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. In the Pie Jesu, the solo soprano (or treble) sings the prayer to the "good Jesus" for everlasting rest. The one line of text is repeated three times, the first two times asking for "requiem" (rest), then intensified for "sempiternam requiem" (everlasting rest). The first call is a modal melody in B-flat majorof six measures, the second call is similar but reaching up higher.

Hungarian Dance No.5 by Johannes Brahms. Arrangement for Piano Duet. With Full Score and Individual Parts. Enjoy it!

Johannes Brahms (1833 - 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von B�low.

For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play

Variations on a Theme by Niccolo Paganini arranged for Trumpet and Piano by Fiona Hickie with a few new variations. It incudes

Theme ? Caprice No. 24 (Paganini/Leopold Auer)

Variation 1 - Triplet (Paganini/Leopold Auer)

Variation 2 - Semiquaver (Paganini/Leopold Auer)

Variation 3 ? Swing (Fiona Hickie)

Variation 4 ? Jazz Waltz (Fiona Hickie)

Variation 5 ? Hornpipe (Fiona Hickie)

Variation 6 - Theme (Paganini/Fiona Hickie)

Arranged Fiona Hickie (2021)

Les tendres plaintes (for Piano Solo) as played by V�kingur �lafsson

?For me, Rameau is up there with Handel, Scarlatti, and second only to Bach,? says �lafsson. ?It is simply genius keyboard writing.? His new album ?Debussy Rameau? juxtaposes Rameau?s music with that of Debussy, describing it as a ?dialogue? between the two composers. He said that together they ?defeat time and space with music?. What follows Debussy?s tender apologies on the album are Rameau?s tender complaints in ?Les Tendres Plaintes? from his Suite in D. In fact, tenderness was also the word evoked by Debussy to describe what he admired so deeply in Rameau ? ?Delicate and charming tenderness?, to be exact. Watch V�kingur �lafsson performing Jean-Philippe Rameau?s ?Les tendres plaintes?.?�lafsson?s interpretations inhabit a unique, distinct and extraordinary world all their own.? ? Gramophone