SKU: AP.44803

UPC: 038081515458. English.

A new take on a time-tested standard, this easy arrangement by Bob Cerulli features the cellos and the first violins. Enjoy! (2:35).

SKU: AP.44808S

UPC: 038081517384. English. Traditional.

Written in a bossa nova style, this fresh take on the classic O' Tannenbaum, arranged by Victor López, will add a little Caribbean flavor to your Christmas concert, and will be easy to learn and teach. (2:20).

SKU: AP.33653S

UPC: 038081381350. English.

A simple folk-style song that works wonderfully for strings and depicts a traveling troubadour and his trained pet entertaining for their food. The broken-chord accompaniment imitates the organ grinder as he sings while the marmot performs tricks for the listeners. It is a beautiful melody that moves between A minor and C major. Both upper strings and cellos take turns on the melody!

SKU: AP.44808

UPC: 038081517377. English. Traditional.

Written in a bossa nova style, this fresh take on the classic O' Tannenbaum, arranged by Victor López, will add a little Caribbean flavor to your Christmas concert, and will be easy to learn and teach. (2:20).

SKU: AP.29664

UPC: 038081321578. English.

Young string musicians will enjoy performing this heavy rock style piece because it utilizes an aggressive style and mixed tonality similar to 'their' music that they listen to for fun. The concept behind the title of this piece is that, although we sometimes move dully through our daily routines, it is good to take time to appreciate the individual moments that make up our lives, like a child does the first time they experience something. All parts are in first position with few accidentals or difficult bowing patterns. At the same time, this piece will challenge your group with its independent voicings and syncopated, interlocking rhythms. This piece would add variety to any school concert, and would fit nicely in a festival program, especially one that utilized several different genres. (3:40).

SKU: AP.36004S

UPC: 038081415697. English.

Are your string players ready to take the challenge? This high-spirited showcase from Corelli's most famous student will instantly grab your audience's attention. Made to play fast, this is just the kind of Italian Baroque music that string players love to play! It's ideal as an opener or even as an encore.

SKU: AP.35998S

UPC: 038081414973. English.

A cool viola feature! Beginning with a solo introduction invoking a Celtic lament, it morphs into a driving rock pulse of 3+3+2. Unlike most rock tunes, there is no need for drums, guitar, or piano as those roles have been assigned entirely to the strings. So take the leap!

SKU: PE.EP68785

ISBN 9790300762319. English.

Composed for trumpet, electric guitar (with volume pedal) and ensemble, Tyshawn Sorey's For Bill Dixon and A. Spencer Barefield was commissioned by the Louisville Orchestra for a world premiere on March 9, 2019, with Teddy Abrams conducting. Ansyn Banks and Craig Wagner premiered the solo parts for trumpet and guitar, which nod toward the pair of experimental jazz musicians who inspired this contemplative, 11-minute work: A. Spencer Barefield, guitarist, and the late trumpeter Bill Dixon.

This score is published as part of the Peters Contemporary Library and includes performance notes from the composer. Solo and orchestral parts are available for rental.

SKU: PE.EP71041

ISBN 9790577009483.

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

About Peters Contemporary Library

Mark Andre
Milton Babbitt
Daniel Bjarnason
Earle Brown
John Cage
Henry Cowell
James Dillon
Jonathan Dove
Brian Ferneyhough
Roxanna Panufnik
Rebecca Saunders
Erkki-Sven Tuur
Charles Wuorinen

These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike.

Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.

SKU: BR.PB-5432

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

SKU: BR.PB-5296

Urtext braves negligently notated autograph

ISBN 9790004212288. 10 x 12.5 inches.

Mozart's late E flat major Symphony was written in 1788, presumably for subscription concerts that ultimately did not take place. The new edition is based on the sole extant authentic source, the autograph from the Biblioteka Jagiellonska in Krakow. Unfortunately, the manuscript was notated negligently and faultily, which forced the editor to make frequent decisions about whether Mozart did or did not intend different articulations at many passages. Cliff Eisen's editorial competence was a major asset here.

Urtext braves negligently notated autograph.

SKU: BR.PB-5238

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.

ISBN 9790004210000. 10 x 12.5 inches.

Ludwig van Beethoven composed his Eighth Symphony op. 93 in 1811/1812. As a consequence of the wartime upheavals of those years, the world premiere of the work did not take place until 27 February 1814 in Vienna under the composer's direction.Hauschilds new edition is based on all the major primary sources. With masterful expertise, Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately. Whoever seeks more about how the Breitkopf new edition differs from other available editions will also find this information quickly and easily.

Hauschild combines source criticism with the demands of performance practice, while keeping the Critical Notes brief (it goes without saying that they are in the score). His editorial emendations can thus be checked immediately.