SKU: AP.44988

UPC: 038081517810. English.

Escape from Dead Raider's Hollow is a fast-paced adventure. Opening quietly, the introduction gradually builds in volume and energy up to a tempo change where the piece takes off and doesn't relent until the end. Combining rhythms of 3 over a pulse of 2 creates a hemiola effect that drives the piece forward, creating a feeling of anxiety and being chased. This is a bombastic, action-packed piece with loud percussive hits, huge brass, and soaring woodwinds that ends with a bang. (2:30).

SKU: BR.EOS-28081-16

ISBN 9790004780282. 10 x 12.5 inches.

Notorious Broomstick One of program music's most important work: Its 32-year-old composer Paul Dukas called his best-known orchestral work Scherzo after a Ballade by Goethe. The colorful orchestration of the ten-minute piece draws the listener down into the depths of Goethe's ballade: A tale of obedience and disobedience, of attempts at concealment, of destruction, but also of benevolence, clemency, and wisdom. This new edition is based on the Eulenburg pocket-score edition edited by Jean-Paul C. Montagnier. Offered here for the first time is the orchestral material for this score, re-engraved, as a sales edition.

In cooperation with Edition Eulenburg.

SKU: CL.SCM-1073-00

This never-before-published Thad Jones composition is a interesting medium tempo swing chart with just a touch of a blues march feel. First recorded live by the Thad Jones-Mel Lewis Big Band at the Village Vanguard in 1967, this very playable chart features a great double shout chorus separated by a 4 bar drum fill. With 16 bar blues changes to work with, Thad’s simple muted trumpet melody turns into a roaring masterpiece of full ensemble excitement before returning to the simple muted trumpet theme. Written solos are provided and this unique chart features two 1st Trumpet parts (High / Low) and includes an optional flute part.

SKU: CL.025-3733-01

Add some fun to your Christmas concerts with this great funk-rock arrangement of Jolly Old St. Nicholas. Includes an open solo section for any instrument, to safely improvise over a basic 2-chord vamp, making this a great confidence builder for your young improv soloists. The very effective guitar part is written so that it can be played by either guitar or a synthesizer. It's fun, easy to prepare, and sure to be a real showstopper at any holiday season performance! Unique!

SKU: BR.OB-15148-16

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Part. 8 pages. Duration 28'. Breitkopf and Haertel #OB 15148-16. Published by Breitkopf and Haertel (BR.OB-15148-16).

ISBN 9790004342183. 10 x 12.5 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

EB 10787 is printed in score form; two copies are needed for performance. Our edition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C major K. 491.

SKU: CF.O5149

ISBN 9780825810930. UPC: 798408010935. 11 x 14 inches.

SKU: HL.14019145

ISBN 9788759860625. 12.0x16.5x0.436 inches. English.

This work was written with a mix between computer technology and the more traditional orchestra, the piece was composed in such a way that it would support its own acoustics. Lindberg worked with amplification of instruments and electronically transformed sounds thus producing greater possibilities to abandon acoustic limits. In order for the piece to be supported by it's own acoustics, the piece had to be written in terms of foreground and background harmony, every foreground chord would always have it's background, a shadow existing without it's main chord. Another theme to the piece is that of textural motion as rapid gestures and motions are a big part of the composer's interest. Static repitions seemed to limit the piece however so they were compensated for on another level, so with a repetitive rhythmic pattern, the harmonic material changes rapidly or when a chain of chords is static the rhythmic and timbral qualities vary frequently. Work for orchestra commissioned by the Finnish Broadcasting Company.