SKU: CA.1211300

ISBN 9790007187750. Language: German.

To enable children and adults to sing together in a Christmas concert: The present work Weissagung by Friedrich Otto Reuter (1863-1924), who was a Kantor and organist in Saxony and from 1908 onwards professor of music in New Ulm, Minnesota/USA, makes this beautiful opportunity available. Although not difficult to perform, his setting very expressively highlights the underlying biblical words Das Volk, das im Finstern wandelt (The people that walked in darkness ...). A special effect results when, towards the end, the prophet's words Denn uns ist ein Kind geboren (For unto us a child is born) - performed in unison - are combined with the well-known Christmas song Es ist ein Reis entsprungen, which is set in four parts.

SKU: FG.55011-895-9

ISBN 9790550118959.

The Urtext edition (2023) of Jean Sibelius’ Five Christmas Songs op. 1 for voice and piano is based on the critical edition presented in the volume VIII/2 Works for Solo Voice Vol. 2 of Jean Sibelius Works (JSW) edited by Jukka Tiilikainen. The lyrics are included in Swedish, Finnish and English.

Sakari Ylivuori's introduction illuminates the history of the beloved songs: May 1, 1913 was cold and wet. Jean Sibelius (1865–1957) spent the day at home at Ainola composing two Christmas songs: settings of poems for children by Zachris Topelius. The two songs born on that chilly spring day were Nu står jul vid snöig port (Now stands Yule at the snowy gate) and Nu så kommer julen (Now is Christmas coming). He then put them together with three Christmas carols he had earlier composed and gave the set the imposing Opus number 1. He had previously considered giving the distinction to various other works, but from 1915 onwards the Five Christmas Songs had the honour of heading his catalogue. [...]

Contents
Nu står jul vid snöig port • Joulu saapuu portin luo • Now stands Yule at the snowy gate [F major]
Nu så kommer julen • Tervehtii jo meitä joulu armahin • Now is Christmas coming [e minor]
Det mörknar ute • Jo joutuu ilta • O’er hill and dale [F major]
Julvisa • En etsi valtaa, loistoa • Christmas song [G major]
On hanget korkeat, nietokset • Visst drivor höga som skyn vi ha • The shining snows are driving high [F major].

SKU: FL.FX072355

This collection will bring an educational and stylistic dimension, and will find its place in the context of auditions or exams. To place in your schoolbag... A series of pieces for exams or auditions - for students playing Flute for 2 years onwards.

SKU: FL.FX072358

This collection will bring an educational and stylistic dimension, and will find its place in the context of auditions or exams. To place in your schoolbag...A series of pieces for exams or auditions - for students playing Flute for 5 years onwards.

This collection will bring an educational and stylistic dimension, and will find its place in the context of auditions or exams.

SKU: BR.KM-2500

World premiere: Berlin, (Festspiele), September 9, 2004 (Quatuor Diotima)

ISBN 9790004502730. 9 x 12 inches.

Hanspeter Kyburz works with three fundamental formative principles in his String Quartet. Soloistic, polyphonic and integratively i.e. homogeneously structured tutti runs alternate with one another, whereby the form does not follow a fixed pattern. Multifaceted correspondences and motivic relationships result from the interplay of the individual sections. The work was given its much-applauded first performance on 9 September 2004 at the Berliner Festwochen. The composer radically revised his quartet after the first performances. From January 2005 onwards, all concerts featuring the work will be based on this new version.

World premiere: Berlin, (Festspiele), September 9, 2004 (Quatuor Diotima).

SKU: FL.FX072539

A short piece for young instrumentalists from the first year of practice. - Pascal PROUST ;

A perfect Piece for exams or auditions - for students playing F Horn for 1 year onwards ; Instruments: 1 F Horn 1 Piano; Difficuly Level: Grade 1; Duration: 1 mn 30 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST;.

SKU: FP.FTJ06

ISBN 9780951479537.

Composing for the recorder can be intimidating for those with limited or no experience playing the instrument. John Turner's new book is the ideal primer, taking the would be recorder composer on a journey through the history of recorder composition, and onwards to explore player techniques and the musicality offered by this versatile instrument. Each section is extensively referenced to exisiting compositions, providing a fantastic platform for further research by the reader.

About the Author:

JOHN TURNER is one of the leading recorder players of today. Born in Stockport, he was Senior Scholar in Law at Fitzwilliam College Cambridge before pursuing a legal career, acting for many distinguished musicians and musical organisations alongside his many musical activities. These included numerous appearances and recordings with David Munrow's Early Music Consort of London, the Academy of Ancient Music, the English Chamber Orchestra, the Academy of St. Martin-in-the-Fields and the English Baroque Soloists. He now devotes his time to playing, writing, reviewing, publishing, composing and generally energising.

He has played as recorder soloist with the Halle Orchestra, the Royal Liverpool Philharmonic Orchestra, the Manchester Camerata, the English Baroque Soloists, the English Chamber Orchestra, and many other leading orchestras and ensembles. Concertos and works with orchestra have been written for him by Gordon Crosse, Anthony Gilbert, Peter Hope, Kenneth Leighton, Elis Pehkonen, Alan Bullard, John Casken, and many other distinguished composers. His recordings include no less than five sets of the Brandenburg Concertos, as well as the F Major version of Brandenburg Concerto No. 4 with Menuhin and George Malcolm, but lately he has madenumerous acclaimed recordings of the recorder’s contemporary concerto and chamber music repertoire, including several concerto discs, all of which have received critical acclaim. In all, he has given the first performances of over 600 works for the recorder, with works by many non-British composers, including Leonard Bernstein, Ned Rorem, Peter Sculthorpe, Douglas Lilburn and Petr Eben.

Many of the works he has premiered have now entered the instrument’s standard repertoire, and these and his own recorder compositions are regularly set for festivals and examinations. He edits series of recorder publications for both Forsyths and Peacock Press, and founded the periodical Manchester Sounds, in response to the perceived threat to music libraries in Great Britain. In addition he was responsible for the rediscovery of several works for his instrument, including the Rawsthorne Recorder Suite, Antony Hopkins' Pastiche Suite, Herbert Murrill’s Sarabande, the Handel F Major Trio Sonata and John Parry's Nightingale Rondo (the only substantial known British nineteenth century work for a fipple flute). He was awarded an Honorary Fellowship by the Royal Northern College of Music in 2002 for his services to British music, and is a Visiting Distinguished Scholar of Manchester University.

SKU: HL.44002765

UPC: 073999027655. 9.5x13.5x0.97 inches.

This piece was commissioned by the 'Concert Band Vlamertinge' and is a plea for peace: the title translates as 'Peace on Earth'. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words 'Et In Terra Pax' - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words 'Et In Terra Pax' bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words 'Et In Terra... Pax' are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too.

Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Pladoyer an den Frieden: Der Titel bedeutet dann auch 'Frieden auf Erden'. Dies kommt unter anderem im vokalen Anteil der Ausfuhrenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte 'Et In Terra Pax' wie ein flehendes Gebet fur den Frieden.

Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: 'ConCErtbAnD VlAmErtingE' und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Wahrend der orchestralen Klimax, die zu einemersten Klangausbruch fuhrt (ab Takt 62), entsteht eine etwas traurige Melodie. Plotzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veranderten Klangfarbe; die Worte 'Et In Terra Pax' runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das uberraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest wahrenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet fur die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphare des Beginns wieder zuruck. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das Et In Terra Pax' durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken uber den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstorung vor allem in den Allegro-Passagen deutlich zuhoren und zu fuhlen. Am Ende macht die anfangliche Spannung jedoch der Hoffnung Platz: Moge die Friedlichkeit auch im taglichen Leben die Grausamkeit verbannen...

SKU: BT.LCM9790570121519

English.

These Piano Anthologies contain pieces which have been carefully selected from previous piano exam lists dating from 1988 to 2006. All of the pieces in these volumes have proved popular with piano students, teachers and listeners, and we are pleased to be able to make them available again in these new collections. Pieces from these anthologies may be chosen as List B and C pieces, allowing students to increase their choice of repertoire beyond the already extensive selection offered in the LCM piano repertoire lists for grade, recital grade and leisure play options. It is hoped that these anthologies will also be of interest to piano students generally. The range of styles broadlycovers the late 18th century to the present. Some familiar pieces are present in these volumes, but they include pieces additionally from composers who have had a distinguished career in the role of teacher or student at LCM. Amongst the former are William Lloyd Webber and Martyn Williams, and amongst the latter are Nicholas Grace and John Guilfoyle, who now have eminent academic and professional musical careers.

SKU: CA.3810200

ISBN M-007-25076-8. Latin.

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach's church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.