By Richard Matteson, Jr. For Fretted. Tune book. Bluegrass. Level: Beginning. Book. Size 8.75x11.75. 248 pages. Published by Mel Bay Publications, Inc.

Piano

SKU: PA.H07988

Fur Klavier. Composed by Luboš Fišer. Stapled. Performance score. With Text Language: Czech/German/English. Editio Baerenreiter Praha #H07988_00. Published by Editio Baerenreiter Praha (PA.H07988).

ISBN 9790260104471. 31 x 23.5 cm inches.

Piano Sonata No. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonin Jemelik, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Durer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.

The work was first performed by Pavel Stepan in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).

String Ensemble

SKU: HL.50600910

Critical Edition Score. By Antonio Vivaldi. Edited by Alessandro Borin. String Ensemble. Classical. Softcover. 26 pages. Ricordi #PR1447. Published by Ricordi (HL.50600910).

ISBN 9788881920242. UPC: 888680699659. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.

SAMz chorus and Piano (SAM) - Grade 2+

SKU: ZB.ZE-4015

Composed by Christoph Schoepsdau. Arranged by Christoph Schoepsdau. This edition: Vocal score. Gospel Music, Sacred music, Vocal music. Gospel Off Prints. Arrangement for mixed voices and piano. Gospel Music. Octavo. With standard. Zebe Publishing #ZE 4015. Published by Zebe Publishing (ZB.ZE-4015).

Single Print from GOSPEL CHORAELE (ZE4010) includes the vocal part.

SATB chorus and Piano (SATB) - Grade 3

SKU: ZB.ZE-4012

Composed by Holger Hantke. Arranged by Holger Hantke. This edition: Vocal score. Gospel Music, Sacred music, Vocal music. Gospel Off Prints. Arrangement for mixed voices and piano. Gospel Music. Octavo. With standard. 4 pages. Zebe Publishing #ZE 4012. Published by Zebe Publishing (ZB.ZE-4012).

Single Print from GOSPEL CHORAELE (ZE4010) includes the vocal part.

SATB chorus, solo voice and Piano (SATB) - Grade 2+

SKU: ZB.ZE-4011

Composed by Niko Schlenker. Arranged by Niko Schlenker. This edition: Vocal score. Gospel Music, Sacred music, Vocal music. Gospel Off Prints. Arrangement for mixed voices, soloist and piano. Gospel Music. Octavo. With standard. 4 pages. Zebe Publishing #ZE 4011. Published by Zebe Publishing (ZB.ZE-4011).

Single Print from GOSPEL CHORAELE (ZE4010) includes the vocal part.

SATB chorus and Piano (SATB) - Grade 3

SKU: ZB.ZE-4013

Composed by Niko Schlenker. Arranged by Niko Schlenker. This edition: Vocal score. Gospel Music, Sacred music, Vocal music. Gospel Off Prints. Arrangement for mixed voices and piano. Gospel Music. Octavo. With standard. Zebe Publishing #ZE 4013. Published by Zebe Publishing (ZB.ZE-4013).

Single Print from GOSPEL CHORAELE (ZE4010) includes the vocal part.

Piano

SKU: PA.H07957

Fur Klavier. Composed by Luboš Fišer. Stapled. Performance score. With Text Language: Czech/German/English. Editio Baerenreiter Praha #H07957_00. Published by Editio Baerenreiter Praha (PA.H07957).

ISBN 9790260104464. 31 x 23.5 cm inches.

Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards.

The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).

String Ensemble

SKU: HL.50600909

Critical Edition Score. By Antonio Vivaldi. Edited by Alessandro Borin. String Ensemble. Classical. Softcover. 22 pages. Ricordi #PR1446. Published by Ricordi (HL.50600909).

ISBN 9788881920235. UPC: 888680699673. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.