SKU: PR.446412480
UPC: 680160588619. 8.5 x 11 inches.
SKU: GH.SK-694
ISBN 979-0-070-00541-8. 185 x 262 mm inches. Text: Traditional / Britt G. Hallqvist (Swedish).
SKU: P2.90079
Everyone may have heard of The Four Seasons, but Vivaldi has more than two hundred other concerti to his name for the violin alone, alongside countless others for cello, flute, oboe, bassoon and recorder. He also wrote many for solo chamber ensemble, and this example is one of 28 concerti he wrote for two violins, strings and harpsichord. Combining high virtuosity and showmanship in the outer movements with expressive tenderness and delicacy in the middle, this transcription allows two tuba players to work together to show off the real technical and musical potential of their instrument, authoritatively removing any residual preconceptions of what the tuba is capable of.
SKU: HL.35027044
UPC: 884088466640. 5.0x5.0x0.176 inches.
Uses: Palm Sunday Scripture: Luke 19:36-38 From the iconic Lenten cantata, Song of the Shadows, we are pleased to release this important Palm Sunday anthem individually with its original orchestration. Full of irony, this poignant anthem reminds the listener that the hosannas of Palm Sunday soon become cries of crucify. Words cannot describe the impact this dramatic anthem has on its audience. A masterpiece! The orchestration includes parts for: piano, flute 1 & 2, oboe, clarinet 1 & 2, bassoon, horn 1 & 2, trumpet 1, trumpet 2 & 3, trombone 1 & 2, bass trombone/tuba, timpani, percussion 1 & 2, harp, violin 1, violin 2, viola, cello, double bass. Available separately: SATB, iPrint Orch CD-ROM, StudioTrax CD. Duration: 3:43.
SKU: PR.41641080L
UPC: 680160637003. 11x17 inches.
SKU: S2.30-3200SF
UPC: 000308140675.
A stately blend of a contemporary praise tune with a timeless hymn, this arrangement triumphantly celebrates the King of kings and Lord of lords who lives and reigns eternally, seamlessly switching between unison, two-part, and full vocal harmony! The instrumental ensemble includes a score and parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 2 Horns (sub 2 Alto Saxes), 3 Trumpets, 2 Trombones (sub 2 Tenor Saxes/Treble Clef Baritones), Tuba, Timpani, 2 Percussion, Harp, Piano, 2 Violins, Viola, Cello, Bass, and Digital String Reduction.
SKU: PR.11540204F
UPC: 680160591237. Key: G major.
Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
SKU: BA.BA09076-65
ISBN 9790006531547. 32.5 x 25.5 cm inches. Text Language: German, English. Text: William Bartholomew.
Mendelssohn's setting of Psalm 98 was written in a few weeks to satisfy a commission in his new position as general music director of Prussia and was premiered by the Berlin Cathedral Choir on 1 January 1844. As he neither released the work for publication nor produced a vocal score, his psalm setting did not appear in print until after his death.For this edition the authoritative Mendelssohn specialist John Michael Cooper drew primarily on the autograph score with its many subsequent corrections and amendments. In this way it differs from many other editions, which tend to treat the autograph as a subordinate source. Rounding off the edition are an informative Foreword and a detailed Critical Commentary. The piano reduction is based on the first printed edition, published by F. Kistner and Evers & Co. in 1851.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: PR.41541135L
UPC: 680160608805. 11 x 17 inches.
Co-commissioned by 21 university wind symphonies, CONCERTO LOGIC is a 25-minute piano concerto inspired by games of chance, logic, and strategy, both ancient and contemporary. Pann himself has performed as the concerto’s soloist on many occasions. I. Dogs and Jackals (C-minor Fantasy) is an ancient Egyptian game; II. Ernö Rubik’s Magic Cube is a musical depiction of working on Rubik’s Cube until finally, after several days, the last few turns are found and the puzzle is solved; III. Rondo Capriccio: “Rage over a Lost Pawn†(piano solo) is an extended piano cadenza referring to the title of Beethoven’s famous “Rage over a Lost Penny†as well as a game of chess; and IV. Dancing with Caissa honors the patron goddess of chess players.
SKU: FG.55011-885-0
Whizzing, growling and rattling – you can produce all kinds of sounds with the harp, not just the fairy-tale shimmer and glissandos that you first think of. Lotta Wennäkoski composed Sigla for harp and orchestra (2021-2022) in close collaboration with the harpist Sivan Magen, to whom the concerto is dedicated. The title of the concerto, Sigla, has different meanings in different languages. In Italian, it means a jingle; in Icelandic, it means sailing; and in Tagalog, spoken in the Philippines, it means vivaciousness or enthusiasm. Wennäkoski has not specifically referenced these in the movements of the concerto as such, but she does allow that the various meanings of the word may be identified with the music according to the listener’s perception.The recording of the work (Ondine ODE1420-2) was premiered with the Gramophone award as the the best release in the contemporary category in October 2023.This product is the solo part.The orchestral material is available for hire from the publisher.Duration: 19'Instrumentation:Harp solo – equipped with paint brush, tuning key and a plastic hair clip2 Flutes (2nd doubling piccolo)2 Oboes2 Clarinets in Bb2 Bassoons2 Horns in F2 Trumpets in C – trumpets and trombone doubling an egg slicerBass trombone attached to a piece of wood or a flat cardboard boxPercussion (2 players)Percussion I: crotales, vibraphone, 5 gongs (a#, bn, c’, e’, f’), bass drum, cymbal, guiro, bell tree, shell chimes, whip, lion’s roar and different beaters including a bow, superball stck and wire brushesPercussion II: tam-tam, cymbal, snare drum, 2 cowbells, 2 temple blocks (med/lg), triangle (small/med), vibraslap and different beaters including a bow, wire brushes and superball stickPiano – equipped with a plectrum, wire brushes and 2 soft percussion beatersStrings.
SKU: HL.49042434
ISBN 9783795794491. 10.25x13.5x1.141 inches. German.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.
SKU: PR.416414970
UPC: 680160618071. 9 x 12 inches.
Piccolo, 3 Futes, 3 Oboes, English Horn, 3 Clarinets in Bb, Bass Clarinet, 3 Bassoons, Contrabassoon, 4 Horns, 3 Trumpets, 3 Trombones, Tuba, Timpani, Cymbal, Piano, Strings.
SKU: PR.41641386L
UPC: 680160607921.
Piccolo, 2 Flutes, 2 Oboes, English Horn, 3 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 4 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion, Piano/Celesta, Harp, Strings.
SKU: PR.416413860
UPC: 680160607914.
SKU: SU.90810110
Instrumentation: 3fl(picc), 2ob, 2cl, 2bn; 4hn, 3tpt, 3tbn(bs), tba; timp, 3perc, hrp, pno; strings Duration: 20' Full Score & Parts: available on rental Composed in 2002. Published by: Subito Music Publishing Composer's Note: De profundis ad lucem (out of the depths towards light) opens with an atmosphere of stillness, out of which two main sections emerge, one reflecting hope and the other struggle. Hope is expressed with a recurring theme that gradually layers upon itself, imparting a feeling of birth. This section suddenly gives way to struggle, represented with loud brass, biting accents, and thundering timpani figures. Following an extended musical landscape, these two sections return, only in reverse, with struggle resolving into hope. The work ends in tranquillity as it began. --N.G.
SKU: CA.5003200
ISBN 9790007143459. Text language: German. Text: Bonn, Franz. Text by Franz Bonn.
Immediately following his first opera Rheinberger composed a small dramatic cantata for children's voices in 1863. It is based on a story from the Gospel of St. Mark, arranged as a rhymed libretto with various roles by Franz Bonn (1830-1854). Among the highpoints of the cantata are a scene of awakening fashioned as a choral recitative with an expressive piano part and a large final chorus Preist laut den Herr. Both of these helped to make the cantata very popular in Rheinberger's days with boys' and girls' choirs. Rheinberger later arranged it with an accompaniment by a small orchestra.
SKU: PR.46600062L
UPC: 680160599158. 11 x 17 inches. With spoken introduction translated and paraphrased by Paul Woodruff.
SKU: PR.466000620
UPC: 680160599141. 8.5 x 11 inches. With spoken introduction translated and paraphrased by Paul Woodruff.
SKU: KU.GM-1929
ISBN 9790206205477. 9 x 12 inches. Key: D major.
The Mass in b minor BWV 232 is Johann Sebastian Bach’s last major vocal composition and also his only complete Catholic mass. The Quoniam tu solus sanctus is written for bass solo with horn obbligato, accompanied by two bassoons and basso continuo. In the present arrangement of this aria for horn and piano or organ, the solo bass part is worked into the piano part and marked accordingly.
Arranged by Simon Scheiwiller
SKU: PR.41641487L
UPC: 680160616282.
Solo Tenor Saxophone, 2 Flutes, Piccolo, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Vibraphone, Xylophone, Glockenspiel, II: Ocean Drum, Triangle, Bass Drum, Cowbells, Anvil, Tambourine, Sus. Cymbal, III: Large Gong, Small Temple Block, Tam-tam, Snare Drum, Piano, Strings.
SKU: HL.49032839
ISBN 9790001123808. UPC: 884088100001. 9.0x12.0x0.284 inches.
Johanna Senfter studied music at the Conservatoire in Frankfurt and then in 1908/9 with Max Reger at the Leipzig Conservatoire. Her late Romantic music draws inspiration from the polyphonic structure of Reger and Bach, as well as from the complex use of sounds and motifs in the music of J. Brahms, which did not leave her in an easy position in the context of twentieth Century modernism. Growing interest in the work of female composers has also led to a rediscovery of J. Senfter in recent years. Her extensive work includes piano music, orchestral works and chamber music, including the Piece for flute, clarinet (in A), two bassoons and four horns, first performed in Karlsruhe in 1934.
SKU: PR.41641484L
UPC: 680160616220.
3 Flutes (3 double Piccolo), 3 Oboes, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Tom-toms, Xylophone, Chimes, Vibraphone, Crotales, II: Sus. Cym., Tam-tam, Marimba, Large Thai Gong, III: Bass Drum, Piano, Strings.
SKU: PR.416414650
UPC: 680160614325. 8.5 x 11 inches.
2 Flutes, 2 Oboes, 2 Bb Clarinets, 2 Bassoons, 3 F Horns, 2 Bb Trumpets, 2 Tenor Trombones, Tuba, 3 Percussion, Percussion I: Snare Drum, Triangle, Sizzle Cymbal, Mark Tree, 2 Timpani, Percussion II: Tom-tom, Glockenspiel, Suspended Cymbal, Xylophone, Mark Tree, Duck Call, Triangle, Percussion III: Bass Drum, Triangle, Crash Cymbals, Suspended Cymbal, Vibraphone (no motor), Solo Piano, Strings.
SKU: PR.41641465L
UPC: 680160614332. 11 x 14 inches.
SKU: CA.4075209
ISBN 9790007220693. Language: German.
Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. Score and parts available separately - see item CA.4075200.
SKU: BR.PB-15137-07
ISBN 9790004214732. 6.5 x 9 inches.
The Havanaise possibly has its roots in the friendship of the composer with the Cuban-born violinist Rafael Diaz Albertini. It is thus perfectly plausible that Saint-Saens borrowed the Cuban syncopated slow dance Habanera out of kindness towards his performance partner when he was getting ready to write a work for Diaz Albertini in 1887. Saint-Saens originally wrote a version for violin and piano, which was later followed by the orchestral version that the publisher Durand had urged him to write. Diaz Albertini, to whom the work was dedicated, gave its world premiere before other virtuosos adopted it for themselves and spread its fame throughout the world. The basis of this first Urtext edition of the piece is the first edition, which was presumably personally overseen by Saint-Saens.
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