Vester's famous collections of studies are an ideal introduction to the stylistic aspects of music from the 17th - 20th century. Selected from the works of famous flautists such as Devienne Böhm and Köhler Vester's compilations are quite unique and are standard repertoire.

A terrific book of 20 modern studies for either Alto or Tenor saxophone. Each study deals with a particular aspect of rhythmic playing ranging from jazz rock and funk to contemporary classical. They are moderate length in order to maximise concentration on style and interpretation and have also been compiled in order of difficulty to enable the player to better gauge their progress. Selected as part of the ABRSM Alto Tenor and Baritone Saxophone examinations grades 4-6.

Level 2 of Mike Cornick's Play the Piano! moves seamlessly on from Level 1 ensuring continuous musical and technical progress for the adult or older teenager. With the raised technical levels the choice of musical genres is even more enriched with arrangements of traditional folk music and music by for example J. S. Bach W. A. Mozart Beethoven Chopin Tchaikovsky Mike Cornick Elton John and more. The result is a feast of beautiful music and the continued guidance from Mike Cornick will help the player develop the technical skills and confidence to interact with the rewarding musical experiences provided by the CDs. Again ateach stage more pieces may be downloaded free from the Universal Edition website.Play the Piano! featuresStep-by-step learning in playing and reading starting from absolute scratch presented in clearly structured stagesAlso suitable for the 'returning beginner'Performance pieces in a range of styles from classical and folk through to jazzHelpful and stimulating CDs with aural development exercises and recordings of the pieces many with 'play-along' tracksWarm-up exercisesEven more performance pieces which together with more supporting material for each stage are available as free downloads from the Universal Edition website'The book goes to the top of the pile of piano tutorials currently available for the older beginner ... excellent!'Pianist Magazine (Michael McMillan) 2011

SCHNITTKE - STRING QUARTET NO. 4 - STRING QUARTET / Format poche / Universal Edition

SCHNITTKE - STRING QUARTET NO. 1 - STRING QUARTET / Format poche / Universal Edition

The 'Romanian Folk Dances' undoubtedly rank amongst Bartók's most popular compositions. The earliest version is scored for piano (1915) and was published by Universal Edition in 1918. ln the preparation of this revised edition the last previous printed edition was compared with the available manuscript sources which include editions marked by Béla Bartók with corrections. His corrected copies of the violin-piano transcription (prepared by Zoltán Székely) as well as the orchestra arrangement were also considered.The major correction concerns metronome numbers. At various times since the work's first publicationthe composer slightly revised some of these tempi. ln the composer's lifetime the last printed editions of both violin-piano and piano versions produced during World War II bear corrections in his file copies the two being in agreement with each other as well as with the marked duration of each dance. The tempi found in these printed editions believed to be the composer's last word on the subject appear in this revised edition.' (Peter Bartók)

Par WALTER BRUNO. Better known as one of the foremost conductors of the 20th century, Walter also found a place in contemporary composition in Vienna in the early part of the 1900s. Of particular importance is the Quintet, which was premiered by the Rosé Quartet, with the composer at the piano, and described as a resounding success. Universal Edition was an early publisher of Walter works, and they are pleased to publish this first edition of the Quintet, in cooperation with the Bruno Walter estate at the University of Music and Performing Arts of Vienna. For advanced performers./ Répertoire / Quintette avec Piano

Eine Tondichtung In Symphonieform In Zwei Teilen und Fünf Sätzen. Par MAHLER GUSTAV. “Titan”, the early five-movement version of the “Symphony No. 1”, has never been published before. Universal Edition is proud to make this score available for the first time in connection with the Complete New Critical Edition. Mahler composed the work at the beginning of 1888 in Leipzig. In 1889 it was subsequently premiered as a “symphonic poem” in Budapest. Our first edition of “Titan” contains the history of its genesis, reviews of the performances in Hamburg and Weimar, a discussion of the programmes and the underlying ideas behind the work, colour prints of important sources, and an extensive critical commentary that describes the variants, problematic passages and all editorial interpolations. At this point, we would like to refer to a statement by the International Gustav Mahler Society (IGMG), which is very concerned about Mahler editions that are not up to date with musicological research and thus cannot do justice to the composer's intentions. To the statement (click in the top right corner to read in English)/ Répertoire / Orchestre

Auferstehungssymphonie. Par MAHLER GUSTAV. Mahler's Second Symphony (Resurrection) is now published as a two-volume set from Universal Edition. The new revised edition is based upon the Critical Edition (2010)./ Répertoire / Solistes, Choeur et Orchestre

Henrik Wiese once again draws on his wealth of experience as a flutist and pedagogue: with his book “The Piccolo & Alto Flute Audition“, he has compiled a total of 207 audition excerpts in a carefully edited and clearly arranged compendium. In alphabetical order, it contains standard passages from orchestral works of various genres throughout music history, both common and less frequently requested. This up-to-date collection is a reliable companion and indispensable for optimal preparation for international auditions of all kinds at the opera, with symphony or chamber orchestras.
Easy-to-read, uniform and modern layout make the edition convenient to use. The critical report and chronological list of audition excerpts for quicker stylistic classification make the editor a comprehensive coach for flutists. Numerous other tips and remarks gained by Wiese from his practical experience and exchange with colleagues and students complete the book. International demand is fulfilled by the texts being in three languages (German, French, English), thus making “The Piccolo & Alto Flute Audition“ the equivalent of the already established edition “The Flute Audition“.
Bartók Béla: III. Pe loc aus Rumünische Volkstänze
Bartók Béla: III. Elegia aus Concerto for Orchestra
Bartók Béla: V. Finale aus Concerto for Orchestra
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 5
Beethoven Ludwig van: 4. Satz aus Symphonie Nr. 9
Berg Alban: 1. Akt, 4. Szene aus Wozzeck
Berg Alban: 2. Akt, 2. Szene aus Wozzeck
Berlioz Hector: 3. Teil, Szene XII. Meuet des Follets aus La damnation de Faust
Berlioz Hector: V. Songe d'une nuit du Sabbat aus Symphonie fantastique
Bizet Georges: 1. Akt, Nr. 2 Marche et choeur des gamins aus Carmen
Bizet Georges: 3. Akt, Nr. 18 Introduction aus Carmen
Borodin Alexander: Allegro vivo und Presto aus Polowetzer Tänze
Brahms Johannes: Variation V aus Variationen über ein Thema von Haydn
Brahms Johannes: Variation VIII aus Variationen über ein Thema von Haydn
Brahms Johannes: 4. Satz aus Klavierkonzert Nr. 2
Brahms Johannes: 3. Satz aus Symphonie Nr. 4
Britten Benjamin: II. Sunday Morning aus Four Sea Interludes
Britten Benjamin: IV. Storm aus Four Sea Interludes
Britten Benjamin: Variation A aus The Young Person's Guide to the Orchestra
Britten Benjamin: Fugue aus The Young Person's Guide to the Orchestra
Delibes Léo: 2. Akt, Nr. 11 Musique des automates aus Coppélia
Donizetti Gaetano: Sinfonia aus Don Pasquale
Donizetti Gaetano: Nr. 7 Scena e Quartetto aus Don Pasquale
Dukas Paul: Scherzo, Poco animando und Vif aus L'Apprenti sorcier
Dvorák Antonín: 3. Satz aus Symphonie Nr. 6
Dvorák Antonín: 1. Satz aus Symphonie Nr. 9
Händel Georg Friedrich: 1. Akt, Nr. 11 Aria Augelletti, che cantate (Almirena) aus Rinaldo
Hindemith Paul: II. Marsch und Pastorale aus Nobilissima Visione
Holst Gustav: III. Merkur aus Die Planeten
Holst Gustav: Dance of the spirits of water aus der Ballettmusik The Perfect Fool
Ippolitov-Ivanov Michail: Nr. 4 Procession of the Sardar aus Suite Nr. 1 Caucasian Sketches
Janácek Leoš: 3. Satz The Queen's Monastery, Brno aus Sinfonietta
Kodály Zoltán: Marosszéker Tänze
Kodály Zoltán: Tänze aus Galánta
Ljadow Anatoli: VII. Dancing Song aus Acht russische Volkslieder
Mahler Gustav: III. Von der Jugend aus Das Lied von der Erde
Mahler Gustav: IV. Urlicht aus Symphonie Nr. 2 Auferstehung
Mahler Gustav: V. Der große Appell aus Symphonie Nr. 2 Auferstehung
Mozart Wolfgang Amadeus: 2. Akt, Nr. 13 Aria Alles fühlt der Liebe Freuden (Monostatos) aus Die Zauberflöte
Ponchielli Amilcare: 3. Akt Danza delle Ore, Finale aus La Gioconda
Prokofieff Sergei: I. The Birth of Kijé aus der Suite Leutnant Kishe
Prokofieff Sergei: IV. Troika aus der Suite Leutnant Kishe
Puccini Giacomo: Suor Angelica
Puccini Giacomo: 3. Akt, 1. Szene aus Turandot
Ravel Maurice: II. Malagueña aus Rapsodie espagnole
Ravel Maurice: IV.Feria aus Rapsodie espagnole
Ravel Maurice: II. Petit Poucet aus My mère l'Oye
Ravel Maurice: III. Laideromette, Imperatrice des Pagodes aus My mère l'Oye
Ravel Maurice: Lever du jour aus der Suite Daphnis et Chloé
Ravel Maurice: Pantomime aus der Suite Daphnis et Chloé
Ravel Maurice: Danse générale aus der Suite Daphnis et Chloé
Ravel Maurice: Boléro
Ravel Maurice: 1. Satz aus Klavierkonzert G-Dur
Ravel Maurice: 3. Satz aus Klavierkonzert G-Dur
Rimski-Korsakow Nikolaj: 3. Satz The Young Prince and The Young Princess aus Sheherazade
Rimski-Korsakow Nikolaj: 4. Satz Festiva at Baghdad aus Sheherazade
Rossini Gioachino: Sinfonia aus der Ouverture zu La scala di seta
Rossini Gioachino: Sinfonia aus der Ouverture zu L'Italiana in Algeri
Rossini Gioachino: 1. Akt, Nr. 2 Cavatina Largo al Factotum (Figaro) aus Il barbiere di Siviglia
Rossini Gioachino: 1. Akt, Nr. 8 Finale 1, Stretta aus Il barbiere di Siviglia
Rossini Gioachino: Sinfonia aus der Ouverture zu La gazza ladra
Rossini Gioachino: Sinfonia aus der Ouverture zu Semiramide
Rossini Gioachino: Sinfonia aus der Ouverture zu Wilhelm Tell
Schönberg Arnold: Nr. 18 Der Mondfleck aus Pierrot lunaire
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 5
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 6
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 7
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 4. Satz aus Symphonie Nr. 8
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 5. Satz aus Symphonie Nr. 9
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 2. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 3. Satz aus Symphonie Nr. 10
Schostakowitsch Dmitri: 1. Satz aus Symphonie Nr. 15
Sibelius Jean: III. Alla marcia aus der Suite Karelia
Smetana Bedrich: Vivacissimo aus Die verkaufte Braut
Sousa Filipe de: March aus The Stars and Stripes Forever
Strauß Johann (Sohn): Ouverutre aus Die Fledermaus
Strawinsky Igor: Variation de l'oiseau de feu aus der Suite L'Oiseau de Feu
Strawinsky Igor: Ronde des princesses (Khorovode) aus der Suite L'Oiseau de Feu
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 4. Satz aus Symphonie Nr. 4
Tschaikowsky Peter Iljitsch: 2. Akt, Nr. 12 Divertissement, c) Le thé (Danse chinoise) aus Der Nussknacker
Tschaikowsky Peter Iljitsch: 3. Satz aus Symphonie Nr. 6
Verdi Giuseppe: 2. Akt Ballabile aus der Oper Aida
Verdi Giuseppe: 1. Akt Coro Fuoco di goia aus der Oper Otello
Verdi Giuseppe: 3. Akt Ballettmusik aus der Oper Otello
Verdi Giuseppe: 1. Akt, 2. Teil aus der Oper Falstaff
Verdi Giuseppe: 1. Akt, Nr. 2 Introduzione aus der Oper La traviata
Verdi Giuseppe: 1. Teil, 1. Szene, Nr. 4 Coro di Zingari e Canzone aus der Oper Il trovatore
Verdi Giuseppe: 3. Akt, Nr. 13 Scena, Terzetto e Tempesta aus der Oper Rigoletto
Wagner Richard: 3. Szene aus der Oper Das Rheingold
Wagner Richard: 3. Akt, 2. Szene Feuerzauber aus der Oper Die Walküre
Holst Gustav: V. Saturn, the Bringer of Old Age aus Die Planeten
Holst Gustav: VII. Neptun, the Mystic aus Die Planeten
Ravel Maurice: 1. Teil Danse religieuse aus Daphnis et Chloé
Ravel Maurice: 1. Teil Danse générale aus Daphnis et Chloé
Ravel Maurice: 2. Teil Danse guerrière aus Daphnis et Chloé
Ravel Maurice: 3. Teil Lever du jour aus Daphnis et Chloé
Ravel Maurice: 3. Teil Pantomime aus Daphnis et Chloé
Ravel Maurice: 3. Teil Danse générale aus Daphnis et Chloé
Strawinsky Igor: 1. Teil L'Adoration de la terre aus Le sacre du printemps
Strawinsky Igor: 1. Teil Danses des adolescentes aus Le sacre du printemps
Strawinsky Igor: 1. Teil Rondes printanières aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Introduction aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Cercle mystérieux des adolescentes aus Le sacre du printemps
Strawinsky Igor: 2. Teil Le sacrifice, Action rituelle des ancêtres aus Le sacre du printemps / Partitions classique / Bois / Flûte traversière / UNIVERSAL EDITION

This edition is more oriented to practical performance than the New Complete Critical Edition. From the range designations of the Lieder, one can see that, despite the transpositions, not all fifteen Lieder of a volume are suited to one and the same voice. The alternative pitches and easier passages written by Mahler often for only one of the voice ranges of a Lied (and not necessarily always for the original voice range) are here provided for both voices. The Notes (pp.165-170) show for which voice these were originally conceived and whether this has to do with a purely vocal facilitation or a musical variant. Unlike the Kindertotenlieder , the fifteen Wunderhorn Lieder do not form a cycle and do not even suggest a unified collection of songs such as the Rückert Lieder. They can only be organized according to their sequence of composition, which should, however, have no influence on the choice or order of a performance. As Mahler himself urged upon his singers: I ask at the very least that you determine the sequence of the Lieder yourself. (Letter to the baritone Johannes Messchaert, 1906)Langue : German / Ténor - piano / Universal Edition

Par PART ARVO. Estonian minimalist composer Arvo Pärt has adapted his celebrated work, Summa, for recorder quartet. Originally written for four solo a cappella voices, it is also available in arrangements for string quartet, string orchestra, and choir with organ. Summa bears the distinctive qualities of Pärt's music, masking its great collective complexity with simplicity in each part. This arrangement can be played by soprano/alto 1/alto 2/tenor instruments or tenor/bass 1/bass 2/great bass. Phrasing marks are consistent with those of the vocal arrangement. Universal Edition makes a significant addition to the recorder library with this edition. For intermediate players./ Répertoire / 4 Flûtes à Bec