Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12+8+4+4+4+4+8+8+8+8+4+4+4+4+8+8+8+8+8+8+8+8+4+16+4+8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cornet, Cornet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS245F

Composed by Benjamin Yeo. Sws. Cps. Full score. 24 pages. Carl Fischer Music #CPS245F. Published by Carl Fischer Music (CF.CPS245F).

ISBN 9781491158135. UPC: 680160916733. 9 x 12 inches.

ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this anew ideaa needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSIC Future of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang. Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work. EDUCATIONAL NOTES Key: Eb Major SECTION BARS EVENT / SCORING / SUGGESTIONS Introduction 1-4 Opens in Eb major with dotted rhythm motif. 1st Strain 5-20 Take note of melodic phrasing above the (light) oom-pah ostinato; melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this 'new idea' needs to be heard clearly for contrast with the previous statement. 2nd Strain 21-36 C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29. Trio 37-56 Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps. Break Strain 57-62 Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain. Final Strain 63-82 Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79. NOTE TO THE CONDUCTOR This march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece. This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets. I wish you the best in the performance of this work. - Benjamin Yeo.
ABOUT THE MUSICFuture of Tomorrow (Concert March) was commissioned by the Arts Education Branch, Ministry of Education as the set piece for the Singapore Youth Festival 2016 Arts Presentation for Concert and Brass Bands (Primary Level). This march uses brief excerpts from the well-known Malay folk songs Katak Lompat and Rasa Sayang.Our youths are indeed our future of tomorrow. This joyful-themed march aims to bring out the best in each of your young players. I hope that students, band directors and audiences will enjoy preparing, performing and listening to this work.EDUCATIONAL NOTESKey: Eb MajorSECTIONBARSEVENT / SCORING / SUGGESTIONSIntroduction1-4Opens in Eb major with dotted rhythm motif.1st Strain5-20Take note of melodic phrasing above the (light) oom-pah ostinato;melody repeats at m. 13 with the addition of countermelody in the inner lines; although written at mf dynamic, this ‘new idea’ needs to be heard clearly for contrast with the previous statement.2nd Strain21-36C minor (relative minor); excerpt from Katak Lompat; melody in the lower brass/wind from m. 21 with a contrasting attitude/style from 1st strain; back to a more lyrical treatment from m. 29.Trio37-56Stays unmodulated in the same key; opens with a percussion solo feature before the start of the softer Trio theme; keep this section controlled and be sensitive to the balance; the metallic timbre of the muted trumpet/cornet needs to be heard clearly (might suggest to bring the dynamic level up to mf when muted); if cued-notes are played, make sure they are played throughout the melodic phrase as written to avoid awkward leaps.Break Strain57-62Excerpt from Rasa Sayang with some play in tonality and instrumental dialogue; quasi grandioso-style before the final strain.Final Strain63-82Back to Eb major with the reprise of the Trio theme; festive-like style with fuller orchestration and new countermelodies; dotted rhythm motif from the introduction concludes the march in a codetta-like section from m. 79.NOTE TO THE CONDUCTORThis march has been carefully written with reasonable technicalities and range in mind for younger players. Generally, optional cued notes in parenthesis are given for less experienced players who have yet to develop their range on the instrument. However, they should never be taken as an easy alternative for all players in the section; otherwise, this may result in a less than ideal flow of the musical lines. Marches are good tools to train tempo consistency, articulation and rhythmic precision as well as musical phrasing. I hope that there will be great learning opportunities for your students as they learn this piece.This march is separately orchestrated for both wind and brass bands to maximize the instrumental colors within each ensemble. The parts are therefore not exchangeable between the wind band and brass band sets.I wish you the best in the performance of this work.- Benjamin Yeo.

Harpsichord; Organ; Early Music

SKU: UT.HS-282

Composed by Alessandro Scarlatti. Edited by Francesco Tasini. Saddle stitching. Classical. Ut Orpheus #HS 282. Published by Ut Orpheus (UT.HS-282).

ISBN 9790215326446. 9 x 12 inches.

The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.
The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, full and significant harmony).
An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the numerical marking typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the Contrapunto semplice e Diminuito.
These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS137F

Composed by Michael Boo. Sws. Bps. Full score. 16 pages. Duration 2:20. Carl Fischer Music #BPS137F. Published by Carl Fischer Music (CF.BPS137F).

ISBN 9781491158494. UPC: 680160917099. 9 x 12 inches.

Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldnat be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you donat have access to Timpani or a timpanist. Bells cover a wide rangea|the lower octave sections should not be played louder just because theyare low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players donat get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isnat plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion. Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue. Percussion accents are to played with more emphasis than non-accented notes, but shouldn't be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don't have access to Timpani or a timpanist. Bells cover a wide range...the lower octave sections should not be played louder just because they're low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate. Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don't get carried away and give them more emphasis than is musically desired. At m. 21, be careful that the bass line isn't plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section. There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.
Fanfare and Jubilation is a Grade 1 work that is playable by any beginning band with any instrumentation due to extensive doubling. The mood is regal and optimistic and is non-programmatic, conveying no picturesque image or storyline. It is appropriate for any occasion.Accents are to be emphasized more than non-accented notes, but are not to be hammered hard. Stress that accented notes are to be played with the same good tone as the other notes and that pitches should not suffer from the additional emphasis. Think of the accents as more of an additional emphasis from the air column and not the tongue.Percussion accents are to played with more emphasis than non-accented notes, but shouldn’t be perceived as being much louder. Timpani is only two pitches and is optional. The piece will not suffer at all if you don’t have access to Timpani or a timpanist. Bells cover a wide range…the lower octave sections should not be played louder just because they’re low pitched, as those notes will still be appropriately heard while supporting the melody. Do not use brass mallets. Balter 10 Phenolic mallets or equivalent (such as clear Balter Lexan or white Medium Hard Poly models) are most appropriate.Think of the m. 10 accented quarter notes tied to the half notes (and similar later examples) as being akin to Horn rips in a Hollywood movie. They are to be emphasized slightly but should not be blaring. Even though they are the only things happening on counts 2 and 3, care must be given that the young players don’t get carried away and give them more emphasis than is musically desired.At m. 21, be careful that the bass line isn’t plodding or over-emphasized due to the accents. Those players should be aware of the sudden drop in volume and lack of accents at m. 25. Attention to sudden dynamic shifts will add interest to the piece and present a more musical performance. Throughout this entire section, try to get all winds to sustain a single breath through four bars until the breath marks. If they are unable to do so, please explain the concept of staggered breathing between members of their section.There may be a tendency among the players to blast out m. 57 to the end. Notes should have more power than the section from mm. 21-56, but are still to be approached musically. Explaining such concepts during their early musical development will go far in helping them develop good traits that will pay off dividends in the future.

Orchestra solo oboe, solo pipa, timpani 4 Pauken, 1 Spieler, percussion, (Crotali, Glockenspiel, gr, Trommel, vibraphonerafon - 1 Spieler), strings (7, 1)

SKU: PE.EP14445

Composed by Bernd Franke. Full Scores. Edition Peters. Score. 52 pages. Duration 00:20:00. Edition Peters #98-EP14445. Published by Edition Peters (PE.EP14445).

ISBN 9790014135041. 297 x 420 mm inches. German.

ARKA stammt aus dem Sanskrit und bedeutet so viel wie Strahl, Blitz, Sonne, Licht, aber auch Lied, Feuer und Hymnus, und entwickelt in meiner Vorstellung sehr viele unterschiedliche Assoziationsfelder. In ARKA stecken auch die Worter arc (beten) und ka (Wasser), und es kann auch ubersetzt werden mit: ,,Das Wasser stromt aus dem heraus, der mehr weiss.

Mein neues Werk fur Pipa, Oboe, Pauke, Schlagzeug und Orchester entstand im Auftrag der Kammerakademie Neuss und auf Anregung des Oboisten Christian Wetzel. Es entstanden drei Rituale mit zum Teil szenischen Elementen fur die Solisten und das Orchester.

Inspirationsquelle in der Vorbeschaftigung waren zwei Quellen und Bucher. Das Daodejing von Laozi in der hervorragenden Neuubersetzung von Viktor Kalinke, eine der wichtigsten Quellen chinesischen Denkens und der Philosophie dieser grossen Kulturtradition und die chinesische Tradition der 5-Elementelehre und der Wandlungsphasen. Als zweites Buch hat mich ,,Die Glut von Roberto Calasso inspiriert, ein Buch uber die indischen Veden in Verbindung mit den Ursprungen des Buddhismus und den damit verbunden Ritualen.

In den letzten 20 Jahren habe ich mich intensiv mit ostasiatischer Musik, Kunst und Philosophie beschaftigt und habe das auch durch langere Studienreisen und kompositorische Projekte vertiefen konnen. U.a. wurde 2012 mein Chorwerk PRAN in Kolkata in Indien uraufgefuhrt (Goethe-Institut), ebenfalls 2012 ,,in between VI fur Sho und Sheng in Tokyo und 2013 ,,Mirror and Circle fur Pipa, Cello und chinesisches Orchester in Taipeh/Taiwan (Auftragswerk der taiwanesischen Regierung). Mit der chinesischen Pipa-Virtuosin Ya Dong arbeite ich seit 2000 zusammen und habe fur sie mehrfach komponiert (Urauffuhrungen u.a. in Hannover/EXPO 2000, Rottweil 2001, Taipeh 2013, Magdeburg 2016). Auch mit Christian Wetzel arbeite ich seit uber 20 Jahren zusammen und habe ebenfalls haufig fur ihn komponiert (UA u.a. in Bonn 1999, Hannover/EXPO 2000, Rottweil 2001, Darmstadt 2004 und etliche weitere Projekte).

Jedes dieser drei Rituale hat eine Lange von ca. 6-7 Minuten und stellt unterschiedliche Qualitaten und Besonderheiten der beiden Soloinstrumente heraus, immer in Verbindung mit der Interaktion zwischen Soli und Orchester. Die Besetzung war fur mich ausserst reizvoll, da beide Instrumente in dieser Kombination noch nie so erklungen sind. Die Pipa ist ein ungemein modernes und ungewohnliches Instrument, reich an Farben und vor allem an perkussiven Effekten. Das Tonmaterial wurde zum grossten Teil aus den Namen der beiden Solisten gewonnen und ergibt interessanter zwei gespiegelte Viertonmotive. In der asiatischen Kultur spielen der Spiegel und der Kreis eine wichtige Rolle, und so werden die Tone, Rhythmen und Formen eingewoben in diese drei Rituale, welche am Ende des dritten Satzes wieder kreisformig an den Anfang des ersten Rituals anknupfen. Ein von den Streichern und der Pauke erzeugtes Gerausch, verbunden mit dem Rhythmus der grossen Trommel, welcher einen Herzschlag symbolisieren soll. Die drei Untertitel der Rituale Himmel, Erde und (atmospharischer) Raum spielen im vedischen und chinesischen Denken eine grosse Rolle und war fur mich beim Komponieren ebenfalls eine sehr starke Inspirationsquelle. In vielen meiner Kompositionen gibt es Raumeffekte, Annaherungen an das Publikum, das Verschieben von Perspektiven, die Dekonstruktion und das Hinterfragen der ublichen Konzertsituation, so u.a in meinem Beuys-Zyklus oder in den Zyklen ,,CUT und ,,in between.

In ARKA geht es mir besonders um die Interaktion zwischen westlichem und ostlichem Denken, um das gegenseitige Durchdringen dieser auf den ersten Blick so unterschiedlichen Denk- und Lebensweisen, um eine Verschmelzung scheinbarer Gegensatze - um Annaherung!

Bernd Franke. Leipzig, 11.10.2019

W01476|C|Y 0.0000 Sheet Music _x000D_ 9780193556799 Y 23.50 X556799 357665 9780193556799 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556799 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 Low voice & piano Low voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556799

• Young: A babe is born
• Rutter: Angels' Carol
• McDowall: Before the paling of the stars
• Rutter: Candlelight Carol
• Rutter: I sing of a maiden
• Chilcott: Mid-winter
• Todd: My Lord has Come
• Bullard: Scots Nativity
• Quartel: Snow Angel
• Todd: Softly
• Chilcott: Sweet was the song
• Chilcott: The Shepherd's Carol
• Quartel: This endris night
• McGlade: What child is this?

for low voice and piano
This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home.
Also available in a volume for high voice and piano.

• 14 songs for solo voice
• Well-loved composers, including John Rutter and Bob Chilcott
• Wide selection of Christmas texts
• Accessible accompaniments
• Includes backing tracks downloadable from a Companion Website
• Available in volumes for high and low voice

MISC|AU|Y 0.0000 Paperback _x000D_ EP73308R Y 0.00 73308R P73308R 1 ORCHA 8000 0.00 Hover A (LARGE) BEAMISH EP73308R GP:ORCHESTRAL HOVER ONLY RENTAL SALLY WORKS NONE ORCHA P 303000 EP73308R 0.0000 Sheet Music _x000D_ EP14437A Y 22.95 14437A P14437A FRANKE, BERND C 9790014137199 52A1 8000 0.00 AGNI A 9790014137199 AGNI BASS BERND CLARINET EP14437A FRANKE PHOTOPRINTS W01476 English / German 00:12:0 Instrumental Score 232 x 303 mm Bass clarinet 20 DETNT NEW PR43 23/04/2021 P 303006

AGNI is the Hindu god of fire; the elemental and transformative force inherent in everything:

Every flame, every fire, every light, every warmth is AGNI.

AGNI is omnipresent, establishing everything and ending everything.

AGNI is often depicted with seven tongues which represent different aspects of his being.

These include: creating, sustaining, cleansing, purifying, priestly, martial, devastating, destructive, and consuming.

Derived from Franke's concerto of the same name, this solo work for bass clarinet compositionally traces the transformative processes initiated by the divine fire. The solo takes seven pieces from the concerto, presenting vivid character pieces exploring the creative possibilities and wide tonal range offered by the bass clarinet.

This version of AGNI for bass clarinet solo was premiered on 4 December 2020 in Leipzig by Volker Hemken, the principal bass clarinetist of the Gewandhausorchester Leipzig. EP14437a convinces with its excellent and clear notation, making the piece a new standard for bass clarinet.

W01476|C|Y 0.0000 Sheet Music _x000D_ EP68686 Y 165.00 68686 P68686 LEWIS C 9790300761299 97 8000 0.00 Ikons A 9790300761299 CONTEMPORARY ENSEMBLE EP68686 GEORGE IKONS LEWIS PHOTOPRINTS SMALL W06652 English 00:14:0 Conductor Score & Parts 303 x 232 mm Fl (A-fl in F).Cl.Bsn (Cbsn).Tbn.Perc.Vln.Vlc.Cb 132 NEW PR43 USTNT 21/04/2021 P 303006

Ikons, commissioned by the Vancouver Cultural Olympiad 2010, exists in two forms. This 14-minute acoustic version, premiered by the Turning Point Ensemble, calls for an octet of live musicians to execute complex rhythms and quarter-tone harmonies.

The interactive, electronic version, created with visual artist Eric Metcalfe and designed to be presented separately, incorporates samples from this acoustic version into a sculptural environment of seven pyramidal structures that respond sonically to the viewer.

W06652|C|Y 0.0000 Sheet Music _x000D_ EP73531 Y 31.95 73531 P73531 PANUFNIK, ROXANNA C 9790577020976 61 8000 0.00 Sonnets without Words A 9790577020976 EP73531 HORN PANUFNIK PHOTOPRINTS PIANO ROXANNA SHAKESPEARE SONNETS W03578 WILLIAM WITHOUT WORDS English Score & Instrumental Parts 232 x 303 mm Horn and piano 28 NEW PR43 UKTNT 21/04/2021 P 303006

Roxanna Panufnik's Sonnets without Words is a contemporary piece for Horn in F and piano. Written for horn player Ben Goldscheider, Panufnik has reimagined the lyrical vocal lines from three of her previous settings of Shakespeare's sonnets (Mine eye, Music to hear and Sweet Love Remember'd for voice and piano) into a purely instrumental work.

Score and horn part.

• Contemporary work for Horn in F and piano
• Settings of Sheakespeare's Sonnets 8, 24 & 29 in instrumental form

W03578|C|Y W06737|LY|N 0.0000 Sheet Music _x000D_ EP73571 Y 15.95 73571 P73571 MCNEFF, STEPHEN C 9790577021317 20 8000 0.00 Trig for Solo Cello A 9790577021317 (SOLO) CELLO EP73571 MCNEFF PHOTOPRINTS SOLO STEPHEN TRIG W03150 English 00:07:0 Instrumental Score 232 x 303 mm Solo Violoncello 8 NEW PR43 UKTNT 21/04/2021 P 303006

Stephen McNeff's Trig is a short 7-minute contemporary work for solo cello, written to celebrate the bicentennial of the Royal Academy of Music in 2022 and in memorium cellist Mike Edwards 1948-2010.

Trig was premiered by Henry Hargreaves on 19 March 2021, livestreamed from the Royal Academy of Music.

• Contemporary piece for solo cello
• Written for the Royal Academy of Music's bicentennial

W03150|C|Y 0.0000 Sheet Music _x000D_ EP14528 Y 34.95 14528 P14528 SAUNDERS, REBECCA C 9790014136796 3 8000 0.00 to an utterance - study A 9790014136796 (SOLO) AN EP14528 PHOTOPRINTS PIANO REBECCA SAUNDERS STUDY TO UTTERANCE W04191 English Instrumental Score 420 x 297 mm Piano Solo 16 DETNT NEW PR43 21/04/2021 P 303006

to an utterance - study was commissioned by Klangforum Wien for the premiere commercial audio recording on a portrait CD in 2020 and first performed by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Musikfest Berlin.

W04191|C|Y 0.0000 Sheet Music _x000D_ EP71880 Y 75.00 71880 P71880 PANUFNIK, ROXANNA C 9790577008332 82 8000 0.00 Spirit Moves for Brass Quintet A 9790577008332 BRASS ENSEMBLE EP71880 MOVES PANUFNIK PHOTOPRINTS QUINTET ROXANNA SPIRIT W03578 English 00:15:0 Score & Instrumental Parts 232 x 303 mm Trumpet 1 in B flat (doubling Piccolo Trumpet), Trumpet 2 in B flat (doubling Flugel Horn), Horn in F, Trombone, Tuba 84 NEW PR43 UKTNT 21/04/2021 P 303006

Roxanna Panufnik's Spirit Moves, for brass quintet, was commissioned by the Fine Arts Brass Ensemble. This 15-minute piece is scored for two trumpets in Bb (one doubling piccolo trumpet and the other doubling flugel horn), horn in F, trombone and tuba. This brass quintet is so called because the outer movements are highly spirited and the central one is spiritual.

This product consists of score and parts.

W03578|C|Y 0.0000 Sheet Music _x000D_ EP73585 Y 4.00 73585 P73585 369282 WILLIAMS, RODERICK C 9790577021591 1 151 8000 0.00 Eriskay Love Lilt A 9790577021591 (SECULAR) CHORAL EP73585 ERISKAY HALSTAN-USA LILT LOVE RODERICK TRADITIONAL W05152 WILLIAMS WORKS English 00:03:0 190 x 272 mm SATB (divisi) and piano 16 NEW PR30 UKTNT 20/05/2021 P 377788

A gently flowing 3-minute arrangement by Roderick Williams for SATB (with divisi) with piano accompaniment that captures the beauty of this famous traditional Hebridean love song. The song text uses both old dialect and English, each verse ending with the words, 'Sad am I without thee'.

• Commissioned by The Sixteen choir and recorded on their 2021 album 'Goodnight Beloved'
• Roderick Williams is a composer/arranger and also a world-renowned baritone
• The arrangement is described by Williams as 'having a little nod to Ravel and Grieg'

W05152|C|Y W04819|LY|N 0.0000 Sheet Music _x000D_ 9780193556782 Y 23.50 X556782 357665 9780193556782 MISC C 1 432 8030 0.00 Oxford Solo Songs: Christmas 14 songs with piano PAPER 14 9780193556782 A-B CAROLS CHRISTMAS MISC MISCELLANEOUS OXFORD PIANO SOLO SONGS SONGS: VOICE WITH AB 00:00:0 High voice & piano High voice book + downloadable backing tracks 311x232 72 NEW NONE 29/07/2021 P 355580 9780193556782

• Young: A babe is born
• Rutter: Angels' Carol
• McDowall: Before the paling of the stars
• Rutter: Candlelight Carol
• Rutter: I sing of a maiden
• Chilcott: Mid-winter
• Todd: My Lord has Come
• Bullard: Scots Nativity
• Quartel: Snow Angel
• Todd: Softly
• Chilcott: Sweet was the song
• Chilcott: The Shepherd's Carol
• Quartel: This endris night
• McGlade: What child is this?

for high voice and piano
This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home.
Also available in a volume for low voice and piano.

• 14 songs for solo high voice
• Well-loved composers, including John Rutter and Bob Chilcott
• Wide selection of sacred and secular Christmas texts
• Accessible accompaniments
• Includes backing tracks downloadable from a Companion Website
• Available in volumes for high and low solo voice

MISC|AU|Y 0.0000 Paperback _x000D_ 9780193559066 Y 4.25 X559066 357665 9780193559066 YOUNG C 1 444 8030 0.00 O splendour of God's glory bright PAPER 9780193559066 BRIGHT CHORAL GLORY GOD'S MIXED OF OXFORD SACRED SPLENDOUR TOBY VOICES W06576 YOUNG C 00:03:30 SATB & organ Vocal score 254x178 SATB 20 NONE P 355580 9780193559066

for SATB and organ
This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.

W06576|C|Y 0.0000 Paperback _x000D_ 9780193554399 Y 2.60 X554399 357665 9780193554399 LASSUS, ORLANDO DE C 1 445 8030 0.00 Oculus non vidit PAPER 9780193554399 CHORAL DE KEANE LASSUS MARK NON OCULUS ORLANDO OXFORD SACRED UPPER VIDIT VOICES W02750 B 00:01:30 SA unaccompanied Vocal score 254x178 Upper Voices - 3 parts or more 4 NONE 10/06/2021 P 355580 9780193554399

for SA unaccompanied
This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

W02750|C|Y W06960|E|N 0.0000 Paperback _x000D_ 9780193954298 Y 3.35 X954298 357665 9780193954298 TALLIS, THOMAS C 1 448 8030 0.00 Honor, virtus et potestas PAPER 9780193954298 CANTICLES DUNKLEY ET HONOR OXFORD POTESTAS SALLY SERVICES TALLIS THOMAS VIRTUS W04705 C 00:06:0 SAATB unaccompanied Vocal score MSER00020 SATB 12 NONE 28/05/2021 P 355580 9780193954298

for SAATB unaccompanied.
This glorious musical depiction of the honour, strength, power and authority of the Holy Trinity by Thomas Tallis is the third issue in the CMS's series of great English Responds from the 16th century, edited by Sally Dunkley. Scored for SAATB, it can be performed either as a motet or as a full Responsory with plainsong alternating with polyphony.

W04705|C|Y W01184|E|N 0.0000 Paperback _x000D_ EP73527 Y 6.95 73527 P73527 BEAMISH, SALLY C 9790577020891 50 8000 0.00 The Parting Glass A 9790577020891 (SOLO) BEAMISH CLARINET EP73527 GLASS PARTING PHOTOPRINTS SALLY W00306 English Score 232 x 303 mm Clarinet 4 NEW PR43 UKTNT 12/12/2020 P 303006

Based on a traditional Scottish/Irish 'farewell' song, this short piece is one of six works written to express my love of Scotland. After living there for nearly half my life, and raising a family, I moved back to England in 2018, and remarried in 2019.

Of course, there were many different emotions attached to the move south: especially the joy and excitement of new beginnings, and reconnection with friends from my youth.

But this piece expresses the wrench I experienced after a last family meal in Glasgow, and the realisation of all I was about to leave behind.

I have taken the melody of the original song, and expanded it, exploring the detail of its patterns, so that it becomes a timeless meditation.

The six pieces in the 'farewell' series are for 6 violas, string quintet, string quartet, trio, violin and clarinet duo, and solo clarinet.

The Parting Glass was composed in 2020 during the coronavirus lockdown, which intensified the feeling of separation from my Scottish family, as well as from other musicians.

It was commissioned by Vittorio Ceccanti for the ContempoArtEnsemble.

W00306|C|Y 0.0000 Sheet Music _x000D_ EP73516 Y 6.95 73516 P73516 BEAMISH, SALLY C 9790577020747 20 8000 0.00 Maple A 9790577020747 (SOLO) BEAMISH CELLO EP73516 MAPLE PHOTOPRINTS SALLY W00306 English 00:06:0 Score 232 x 303 mm Contemporary cello solo 8 NEW PR43 UKTNT 12/12/2020 P 303006 Seed; Spinning Seed; Roots, shoots; Leaves ; Flowers; Tree ; Autumn ; Cello

Maple arose from a commission to write a work for solo cello, to be performed alongside readings from artist John Newling's collection of letters entitled 'Dear Nature'; a poetic manifestation of our relationship with the natural world.

The piece is in eight short sections, to be interspersed with readings of groups of the poems. It may also be performed as a single movement. It begins with a seed - the seed of a maple tree, as it hangs on the mature tree, ready to drop. The seeds are like propellers, sometimes travelling more than a mile before landing on the ground. Maple follows the growth of the tree to maturity - which in reality would take at least a hundred years. 'Roots, shoots' grows downwards and upwards from a pedal note, and the dance-like 'Flowers' is followed by the stately 'Tree', and then the warm, cascading 'Autumn'. Maple is very often the wood of choice for the back of a stringed instrument, and the last section uses open strings to explore the full resonance of the cello.

The piece starts with a 'seed' of only five notes, which grows into different configurations. It is intended to be played in an improvisatory style.

Maple was co-commissioned by Brighton Festival, Ars et Terra Festival with SACEM and Ditchling Arts and Crafts Museum, to be performed by Margarita Balanas as part of the Brighton Festival's 'Dear Nature' project.

W00306|C|Y 0.0000 Sheet Music _x000D_ EP73508 Y 39.95 73508 P73508 DILLON, JAMES C 9790577020648 3 8000 0.00 echo the angelus A 9790577020648 (SOLO) ANGELUS DILLON ECHO EP73508 JAMES PHOTOPRINTS PIANO W01097 English 00:25:0 Score 232 x 303 mm Piano Solo 44 NEW PR43 UKTNT 12/01/2021 P 303006

First performed by Noriko Kawai for Huddersfield Contemporary Music Festival, in a broadcast from the Radio Theatre, BBC Broadcasting House, November 2020.

Full of beautifully crafted, delicate tintinnabulations - Richard Morrison, The Times

This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.

Concert band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, Bassoon 1/2, Eb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, 1st Bb Cornet, 2nd/3rd Bb Cornet, 1) - grade 5

SKU: CN.S11158

Composed by Gordon Jacob. Band Music. Score only. Duration 15:30. Published by G & M Brand Music Publishers (CN.S11158).

A powerful work. An opening fanfare leads directly to an Allegro risoluto, which exudes determination and forthrightness. The second movement follows without a break and is a continuous plaint in which the melody seems forever seeking resolution like a troubled soul searching for respite. Only in the closing bars does peace seem to take over. The final movement, marked Allegro non troppo, starts with a cheering fanfare that leads to a bright and breezy romp, with a rustic feel about it. When the fanfare reappears we are suddenly immersed in exaltations of joy that really give a feeling of optimism as we proceed to the end of the piece via a short Coda.

With this Symphony, Gordon Jacob proclaims his absolute mastery of idiom and instrumentation with a triumphant rejoicing. Written in 1978 as a commission from Arthur Doyle (hence the AD in the title, a typical piece of Jacob wit), it lay virtually unplayed save for the efforts of his Estate, Troy Peterson and Geoffrey Brand and CBDNA (College Band Directors Association, USA), who between them ensured that it was professionally recorded in 1994 and published in 1995. There is little point in indulging in semantics as to whether the piece is a Symphony. It is Jacob's approach to his tuneful, folk-based material which is symphonic: weighty in exposition and development, sonorous and expressive in the slow movement, with a scherzo-like last movement and a giocoso coda. After a brilliant opening fanfare, the quick triple-meter first theme (Allegro Risoluto) is introduced on clarinets, punctuated with brass. It is soon followed by a contrasting melody for saxophone. In all this material the interval of a 4th is prominent, and throughout the work the 4th and 7th are important. Perhaps it is the frequent use of the 7th which gives a feeling of restlessness without resolution which pervades this movement as the themes are dissected and developed. The second movement follows directly after a horn bridge. Still the melody outlines the 7th and the ear is not satisfied until the full band (with organ), comes to rest in Bb major. This point of repose and the magic pianissimo which follows shortly after when the slow theme is re-stated, are the apex of the Symphony's construction. Soon, however, we are transported, via a fanfare, into a helter-skelter 9/8 romp: rustic, English, and almost vulgar, this theme is thrown around the group before exploding into a boisterous 2/4 coda.

Organ (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-11

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 16 pages. Duration 20'. Breitkopf and Haertel #OB 5329-11. Published by Breitkopf and Haertel (BR.OB-5329-11).

ISBN 9790004333525. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

Basso (cello/double bass) (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-26

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 8 pages. Duration 20'. Breitkopf and Haertel #OB 5329-26. Published by Breitkopf and Haertel (BR.OB-5329-26).

ISBN 9790004333556. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

(solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.CHB-5289-02

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Chor-Bibliothek (Choral Library). Mass; Classical. Choral score. Composed 1780. 44 pages. Duration 20'. Breitkopf and Haertel #ChB 5289-02. Published by Breitkopf and Haertel (BR.CHB-5289-02).

ISBN 9790004412046. 7.5 x 10.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

Violin 1 (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-15

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 12 pages. Duration 20'. Breitkopf and Haertel #OB 5329-15. Published by Breitkopf and Haertel (BR.OB-5329-15).

ISBN 9790004333532. 10 x 12.5 inches.

According to the date inscribed in Wolfgang Amadeus Mozart's autograph score, the present mass was composed in March 1780. The instrumental setting (oboes, trumpets and timpani add color and festive splendor to the work) rightly suggests that the work was in all likelihood performed with the Church Sonata K. 336 at the Easter high mass in the Salzburg cathedral. Since Archbishop Hieronymus Count Colloredo wanted the mass text to be treated as succinctly as possible, Mozart offered him a richly orchestrated Missa solemnis in the terse form of a Missa brevis.The brilliant, festive character of the Mass K. 337 is abruptly interrupted by a powerful Benedictus in a harsh A minor, the most striking and revolutionary movement in all of Mozart's Masses, in the strictest contrapuntal style ... (Alfred Einstein). What could have inspired Mozart to such unexpected rigor? But there is another surprise yet: while the dark drama of the Holy Week seems to radiate from this Benedictus, the following Agnus Dei in the distant key of E flat major sounds, with its soprano solo and concertante oboe, bassoon and organ, like a song of thanksgiving filled with the warmth and light of Easter.Other features worth noting are the three unisons between the alto and bass heard at the Deus pater omnipotens in the Gloria (bars 22-32), the a cappella illumination of the words Jesu Christe found a little later (bar 62) and the descending chromaticism evocative of death at the Crucifixus in the Credo. (Incidentally, Mozart had initially planned a different movement for the Credo of this mass, superscribed Tempo di Chiaconna; he wrote out 136 bars but, for some unknown reason, never completed it.)While the Coronation Mass K. 317 of 1779 is one of Mozart's most well-known mass settings, its later composed frllow piece K. 337 - Mozart's last completed mass before the great C minor fragment K. 427 (417a) - has been paid less attention, even though it is an outstanding example of the Mozartian mass type and contains parallels to the Coronation Mass in its disposition and in the structure of its various movements. The score and piano reduction of this new edition were prepared on the basis of the autograph (Osterreichische Nationalbibliothek/Vienna, dass. no. Mus. Hs. 18 97512) and the Salzburg performance material (Staats- und Stadtbibliothek/Augsburg, dass. no. Hl. Kreuz 9). We wish to thank both libraries for putting the source material at our disposal.Franz Beyer, Munich, Spring 1998.

By Elliott Smith. Arranged by Fred Sokolow. Guitar Collection. Softcover. Guitar tablature. 80 pages. Published by Hal Leonard