Both the Partita in A Minor by J. S. Bach and the Sonata in A Minor by his son C. P. E. Bach are recognized as being among the most significant eighteenth-century solo works for unaccompanied flute, yet they could hardly be more distinct from each other in both form and style. The Partita, rediscovered in 1917, clearly follows J. S. Bach's style in its form, depth, style, and structure. The Sonata was published in 1763, and is to be played in a much more sensitive and expressive way than the Partita. It is a highly dramatic work using extremities of dynamic range, wide intervals, and carefully thought-out phrasing. This edition includes a complete performance on CD

Organ

SKU: BR.BV-482

Composed by Jean-Claude Zehnder. Solo instruments; Softbound. Buchverlag Breitkopf & Hartel (Music Books). Baroque period. Book. 128 pages. Breitkopf and Haertel #BV 482. Published by Breitkopf and Haertel (BR.BV-482).

ISBN 9783765104824. 6.5 x 9.5 inches. German.

,,Bach spielen auf der Orgel (Playing Bach on the Organ) - the eagerly anticipated and logical addition to the new ten-volume edition of Bach's organ works - addresses organists of various skills and interests. It is not a scientific textbook focusing on a comprehensive presentation of the sources; it rather aims to make the fascinating cosmos of Bach's organ compositions accessible and ignite the passion, which is essential for an inspired interpretation. In his capacity as both a concert organist and a Bach researcher, Jean-Claude Zehnder is, like no other, apt to give the reader an understanding of the diverse aspects of playing Bach in a scientifically founded and yet vivid and exciting way. From Bach's organs and questions with regard to the registration practice of his time, via performance-technical aspects to thoughts on text reference, proportions and symbolism, no important subject has been left out. Questions of interpretation are discussed by reference to selected works and round off the compact presentation. A bibliography allows further own research.

Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

Poetry in Motion arranged by Lori Hope Baumel. For unison voices, piano accompaniment. Treble Spotlight. Secular. Grade 3. Octavo. Published by Neil A. Kjos Music Company

By Johann Sebastian Bach. Arranged by Richard Sayage. Duet. For Classical Guitar Duet. Savage Classical Guitar Duet Editions. The master of counterpoint at his best. Baroque. Level: Student/Intermediate. Full Score. Standard. 54 pages. Published by Savage Classical Guitar Transcriptions.

SKU: GI.G-317212

Composed by Jack Van Geem & Anthony J Cirone. Music Education. 62 pages. GIA Publications #317212. Published by GIA Publications (GI.G-317212).

ISBN 9781574631197. UPC: 884088581664.

This latest work in the Master Class series presents a comprehensive, interpretive analysis and performance guide of three major works for solo marimba by San Francisco Symphony Principal Percussionist Jack Van Geem. Van Geem's well-thought-out approach to learning Velocities by Joseph Schwantner helps solve many of the difficult 4-mallet technical issues of this most notable composition for solo marimba. His extensive theoretical analysis of Three Small Adventures by Gunther Schuller aids in a greater musical approach to this and other contemporary works for marimba. Van Geem provides his personal edition including dynamics, phrasing, and articulations to J. S. Bach's Fuga in G minor. Van Geem outlines his philosophy of solo marimba technique and how mallet position increases a player's accuracy and provides an important aid in memorization. This in-depth publication covers topics such as sticking options, beating spots, hand & arm postures, memorization, practicing, learning the art of triaging, and more.

SKU: GI.G-9931

Flexible Chorales for Musicianship. Composed by Peter J. Folliard. This edition: Director's edition. Music Education. 128 pages. GIA Publications #9931. Published by GIA Publications (GI.G-9931).

ISBN 9781622773824.

The best way to develop ensemble musicianship is through the thoughtful exploration and performance of great literature. In this spirit, Dr. Peter Folliard presents The Bach Initiative, a collection of twenty-six wonderful Bach chorales for instrumental ensembles of any type, size, or level. The Bach Initiative includes each chorale in its original four-part harmonization for all members of the ensemble, giving instrumentalists the unique yet important opportunity to see the full score—and to better understand how each part interacts with the whole. As a result, players naturally develop greater awareness, sensitivity, and intuition. The chorales are intentionally transcribed for flexibility, so any individual may play any part at any time. And while the pedagogical applications are virtually endless, Folliard provides more than a dozen creative variations for rehearsing these chorales that are certain to enhance multiple aspects of ensemble musicianship. The Bach Initiative also offers pedagogical information, including insightful scholarship about intonation, instrument ranges, and appropriate articulation. Folliard also provides a succinct discussion of chord analysis, non-chord tones, and voice leading. The undisputed quality and relative brevity of the Bach chorales make them perfect for the rehearsal room and the concert hall. And the convenient and creative way in which they are presented in The Bach Initiative is certain to inspire new levels of musicianship in bands, orchestras, and other instrumental ensembles of all levels. Check out this video of the wind ensemble at The Copland School of Music at Queens College reading a chorale from The Bach Initiative without a conductor. Learn more about this resource in the promotional video below:.

SKU: GI.G-9971

Flexible Chorales for Ensemble Musicianship. Composed by Peter J. Folliard. Music Education. 48 pages. GIA Publications #9971. Published by GIA Publications (GI.G-9971).

ISBN 9781622773879.

The best way to develop ensemble musicianship is through the thoughtful exploration and performance of great literature. In this spirit, Dr. Peter Folliard presents The Bach Initiative, a collection of twenty-six wonderful Bach chorales for instrumental ensembles of any type, size, or level. The Bach Initiative includes each chorale in its original four-part harmonization for all members of the ensemble, giving instrumentalists the unique yet important opportunity to see the full score—and to better understand how each part interacts with the whole. As a result, players naturally develop greater awareness, sensitivity, and intuition. The chorales are intentionally transcribed for flexibility, so any individual may play any part at any time. And while the pedagogical applications are virtually endless, Folliard provides more than a dozen creative variations for rehearsing these chorales that are certain to enhance multiple aspects of ensemble musicianship. The Bach Initiative also offers pedagogical information, including insightful scholarship about intonation, instrument ranges, and appropriate articulation. Folliard also provides a succinct discussion of chord analysis, non-chord tones, and voice leading. The undisputed quality and relative brevity of the Bach chorales make them perfect for the rehearsal room and the concert hall. And the convenient and creative way in which they are presented in The Bach Initiative is certain to inspire new levels of musicianship in bands, orchestras, and other instrumental ensembles of all levels. This is the B-Flat Instruments edition. See G-9931 for the Director's Edition.

SKU: GI.G-9969

Flexible Chorales for Ensemble Musicianship. Composed by Peter J. Folliard. Music Education. 48 pages. GIA Publications #9969. Published by GIA Publications (GI.G-9969).

ISBN 9781622773855.

The best way to develop ensemble musicianship is through the thoughtful exploration and performance of great literature. In this spirit, Dr. Peter Folliard presents The Bach Initiative, a collection of twenty-six wonderful Bach chorales for instrumental ensembles of any type, size, or level. The Bach Initiative includes each chorale in its original four-part harmonization for all members of the ensemble, giving instrumentalists the unique yet important opportunity to see the full score—and to better understand how each part interacts with the whole. As a result, players naturally develop greater awareness, sensitivity, and intuition. The chorales are intentionally transcribed for flexibility, so any individual may play any part at any time. And while the pedagogical applications are virtually endless, Folliard provides more than a dozen creative variations for rehearsing these chorales that are certain to enhance multiple aspects of ensemble musicianship. The Bach Initiative also offers pedagogical information, including insightful scholarship about intonation, instrument ranges, and appropriate articulation. Folliard also provides a succinct discussion of chord analysis, non-chord tones, and voice leading. The undisputed quality and relative brevity of the Bach chorales make them perfect for the rehearsal room and the concert hall. And the convenient and creative way in which they are presented in The Bach Initiative is certain to inspire new levels of musicianship in bands, orchestras, and other instrumental ensembles of all levels. This is the C Instruments - Treble Clef edition. See G-9931 for the Director's Edition.

SKU: GI.G-9974

Flexible Chorales for Ensemble Musicianship. Composed by Peter J. Folliard. Music Education. 48 pages. GIA Publications #9974. Published by GIA Publications (GI.G-9974).

ISBN 9781622773909.

The best way to develop ensemble musicianship is through the thoughtful exploration and performance of great literature. In this spirit, Dr. Peter Folliard presents The Bach Initiative, a collection of twenty-six wonderful Bach chorales for instrumental ensembles of any type, size, or level. The Bach Initiative includes each chorale in its original four-part harmonization for all members of the ensemble, giving instrumentalists the unique yet important opportunity to see the full score—and to better understand how each part interacts with the whole. As a result, players naturally develop greater awareness, sensitivity, and intuition. The chorales are intentionally transcribed for flexibility, so any individual may play any part at any time. And while the pedagogical applications are virtually endless, Folliard provides more than a dozen creative variations for rehearsing these chorales that are certain to enhance multiple aspects of ensemble musicianship. The Bach Initiative also offers pedagogical information, including insightful scholarship about intonation, instrument ranges, and appropriate articulation. Folliard also provides a succinct discussion of chord analysis, non-chord tones, and voice leading. The undisputed quality and relative brevity of the Bach chorales make them perfect for the rehearsal room and the concert hall. And the convenient and creative way in which they are presented in The Bach Initiative is certain to inspire new levels of musicianship in bands, orchestras, and other instrumental ensembles of all levels. This is the Viola edition. See G-9931 for the Director's Edition.

SKU: GI.G-9970

Flexible Chorales for Ensemble Musicianship. Composed by Peter J. Folliard. Music Education. 48 pages. GIA Publications #9970. Published by GIA Publications (GI.G-9970).

ISBN 9781622773862.

The best way to develop ensemble musicianship is through the thoughtful exploration and performance of great literature. In this spirit, Dr. Peter Folliard presents The Bach Initiative, a collection of twenty-six wonderful Bach chorales for instrumental ensembles of any type, size, or level. The Bach Initiative includes each chorale in its original four-part harmonization for all members of the ensemble, giving instrumentalists the unique yet important opportunity to see the full score—and to better understand how each part interacts with the whole. As a result, players naturally develop greater awareness, sensitivity, and intuition. The chorales are intentionally transcribed for flexibility, so any individual may play any part at any time. And while the pedagogical applications are virtually endless, Folliard provides more than a dozen creative variations for rehearsing these chorales that are certain to enhance multiple aspects of ensemble musicianship. The Bach Initiative also offers pedagogical information, including insightful scholarship about intonation, instrument ranges, and appropriate articulation. Folliard also provides a succinct discussion of chord analysis, non-chord tones, and voice leading. The undisputed quality and relative brevity of the Bach chorales make them perfect for the rehearsal room and the concert hall. And the convenient and creative way in which they are presented in The Bach Initiative is certain to inspire new levels of musicianship in bands, orchestras, and other instrumental ensembles of all levels. This is the C Instruments - Bass Clef edition. See G-9931 for the Director's Edition.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1125039-140

Arranged by Wil van der Beek. Great Classics. Score Only. Composed 2012. 44 pages. De Haske Publications #DHP 1125039-140. Published by De Haske Publications (BT.DHP-1125039-140).

9x12 inches. English-German-French-Dutch.

Offenbach (1819 - 1880), who was born in Germany, moved to Paris when he was a teenage boy and remained there for much of his life. He became especially famous as a composer of numerous operettas. and of one famous opera: Les Contes d’Hoffmann (The Tales of Hoffmann). His operettas (or ‘musiquettes’) were often based on comical, or satirical librettos. He makes fun of Parisian daily life, dignitaries, the military, the pretentiousness of the Grand Opéra, and so on. In that respect, Offenbach’s operettas are not really comparable with those of his German-speaking contemporaries, for example, Franz Lehár and Johann Strauss the Younger. Musically speaking, we could callOffenbach’s operettas lively, funny, melodious and catchy.For La Belle Hélène, Offenbach drew from Greek mythology. The story is based on that of Helen of Troy, but is set in France, halfway through the 19th century; it has been turned into a satire on the élite of that time.The overture to La Belle Hélène was (and still is) very successful. Offenbach combined a number of arias and choruses from the operetta to give a taste of what is to follow. Many overtures which follow this form lack unity and structure. However, in this case the composition has been well thought-out.

Offenbach (1819-1880), Duitser van geboorte, verhuisde als jongeman naar Parijs, waar hij een groot deel van zijn leven verbleef. Hij werd vooral beroemd als componist van talrijke operettes en een beroemde opera: Les Contes d’Hoffmann. Zijn operettes (of ‘musiquettes’) zijn qua libretto vaak komisch en hilarisch, ja zelfs satirisch. Hij steekt hierin de draak met het Parijse mondaine leven, met hoogwaardigheidsbekleders, met militairen, met de bombast van de Grand Opéra, enzovoort. In dat opzicht zijn Offenbachs operettes nauwelijks te vergelijken met die in Duitsland van bijvoorbeeld Franz Lehár en Johann Strauss jr. Muzikaal gezien kunnen we zijn operettes levendig,geestig, melodieus en goed in het gehoor liggend noemen.Voor La Belle Hélène putte Offenbach uit de Griekse mythologie. Het verhaal draait om Helena van Troje, maar is verplaatst naar Frankrijk, halverwege de negentiende eeuw; het is uitgewerkt tot een satire op de heersende elite.De ouverture van La Belle Hélène was (en is nog altijd) zeer succesvol. Offenbach heeft hierin een aantal aria’s en koren uit de operette samengevoegd - een voorproefje dus op wat komen gaat. Veel ouvertures die zo zijn gemaakt, missen eenheid en structuur. In dit geval is er echter sprake van een goed doordachte opbouw.

Der gebürtige Deutsche Jacques Offenbach (1819-1880) zog im Jugendalter nach Paris, wo er den größten Teil seines Lebens verbrachte. Bekannt wurde er vor allem als Komponist zahlreicher Operetten und einer berühmten Oper: Les Contes d’Hoffmann (Hoffmanns Erzählungen). Seine Operetten (oder Musiquettes“) basierte er häufig auf komischen oder gar satirischen Libretti. Darin wird das mondäne Pariser Leben karikiert mit seinen Würdenträgern, Militärs, dem Pomp der Grand Opéra und dergleichen mehr. In dieser Hinsicht sind Offenbachs Operetten vergleichbar mit den deutschen Werken eines Franz Lehár oder Johann Strauss (Sohn). Musikalisch betrachtet können Offenbachs Operetten alslebendig, amüsant, melodiös und eingängig beschrieben werden. Für La Belle Hélène bediente sich Offenbach der griechischen Mythologie. Die Handlung beruht auf Helena von Troja, wurde aber ins Frankreich der Mitte des 19. Jahrhunderts versetzt und in eine Satire auf die damals herrschende Elite verwandelt.Die Ouvertüre von La Belle Hélène war und ist sehr erfolgreich. Offenbach kombinierte darin eine Reihe von Arien und Chorstellen aus der Operette und lieferte so quasi einen Vorgeschmack auf das Folgende. Vielen auf diese Weise entstandene Ouvertüren mangelt es an Einheitlichkeit und Struktur. Diese Ouvertüre zeugt jedoch von einem gut durchdachten Aufbau.

Jacques Offenbach est né en Allemagne en 1819. Sa famille s’installe Paris alors qu’il est encore adolescent et c’est l qu’il passe la plus grande partie de sa vie. Il devient particulièrement célèbre pour la composition de nombreuses opérettes et d’un opéra légendaire, Les Contes d’Hoffmann. Ses opéras-bouffes (ou « musiquettes ») s’inspirent souvent de livrets comiques ou satiriques. Il parodie la vie quotidienne Paris, se moque des dignitaires, de l’armée, de la prétention du grand opéra, et ainsi de suite. cet égard, les œuvres d’Offenbach ne sont pas vraiment comparables aux opérettes de ses contemporains germanophones tels que Franz Lehár ou encoreJohann Strauss le jeune. Musicalement parlant, on peut dire que les opéras-bouffes d’Offenbach sont entraînants, spirituels, mélodieux et mémorables.Jacques Offenbach s’est inspiré de la mythologie pour composer La Belle Hélène, dont le livret brosse l’histoire d’Hélène de Troie. Mais parodiant l’une des légendes grecques des plus illustres, cette opérette se veut être une satire sur l’élite de l’époque.L’ouverture de La Belle Hélène a toujours été très populaire. Offenbach y glisse plusieurs arias et chœurs repris ensuite dans l’un ou l’autre acte de l’opérette, afin d’en offrir un avant-go t l’auditoire. De nombreux compositeurs écrivirent par la suite des ouvertures de canevas identique. Bien qu’un grand nombre d’entre elles manquent d’unité et de structure, l’ouverture de La Belle Hélène en est une exception notoire.

Composed by Felix Mendelssohn, Gustav Holst, G. F. Handel, J. S. Bach, Johannes Brahms, Richard Wagner, Edward Elgar, Benedetto Marcello, Jeremiah Clarke, Michael Burkhardt, Leon Boellmann, Jean-Joseph Mouret. Arranged by Michael Burkhardt. Non Hymn-Based, Classical Transcription. Building Dedication, Church Anniversary, Marriage, 21st Century, Benediction/Sending, Gathering/Processional, Music, Praise/Thanksgiving. Published by MorningStar Music Publishers

Flute, Clarinet, Violin, Cello, Guitar, Vibraphone, Piano Chamber

SKU: HL.14008995

Composed by Poul Ruders. Music Sales America. Classical. Score. 36 pages. Music Sales #KP00055. Published by Music Sales (HL.14008995).

ISBN 9788759878217. Danish.

Poul Ruders DIFERENCIASDIFERENCIAS was an old Spanish naming of musical compositions dealing with various techniques involving theme and variation. In modern Spanish it simply means differences. It's a nice title, however, and as to the present piece, a very fitting one indeed, because I wrote it especially to The Elsinore Players for their South America-tour in 1981.Actually nothing happens to the clipping of wellknown Bach (the first four bars of the chorale: jesu, Joy of Man's Desiring, cantata No. 147), apart from the continuous changing of the succession-pattern of the 11 triplets and one duplet, the latter of which creates the recognizable 8/8 pattern amidst the flow of 9/8 spinnrad-rolling. To put it popularly, I haven't included anything that Bach does not have in the book himself.In addition to that, the unpredictable accents and various instrumental colours are the only means of differences. There are no modulations, no tricky polyphony, nothing but a long, thoughtful tasting the beautiful piece of tune. Well, of course, the chorale itself enters the picture in the very last section, but that is merely for me to have the pleasure of tossing it away again before it comes to a proper end.Finally, I really do think, that the Cage/Morgan poem quoted below, is the most suitable prologue to DIFERENCIAS:14 variations on 14 wordsI have nothing to say and I am saying it and that is poetry. John CageI have to say poetry and is that nothing and I am saying itI am and I have poetry to say and is that nothing saying itI am nothing and I have poetry to say and that is saying itI that am saying poetry have nothing and it is I and to sayAnd I say that I am to have poetry and saying it is nothingI am poetry and nothing and saying it is to say that I haveTo have nothing is poetry and I am saying that and I say itPoetry is saying I have nothing and I am to say that and itSaying nothing I am poetry and I have to say that and it isIt is and I am and I have poetry saying say that to nothingIt is saying poetry to nothing and I say I have and am that Poetry is saying I have it and I am nothing and to say that And that nothing is poetry I am saying and I have to say itSaying poetry is nothing and to that I say I am and have itEdwin MorganPoul Ruders.

By Eugenie R. Rocherolle. Piano. Neil A. Kjos Piano Library. Level: Level 3. Music Book. Published by Neil A. Kjos Music Company.