SKU: BA.BA09562-01
ISBN 9790260107380. 34 x 27.5 cm inches. Text Language: Czech, English, German. Preface: Zahrádka, JirÃ. Text: BartoÅ¡ová, Fedora.
Janacek's operaOsudis an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges.This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist's copy of authorised by Janacek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of theComplete Critical Edition of the Works of Leos Janacek.* First critical edition of this opera* Foreword on the genesis of the work and its reception by Jiri Zahradka (Cz/Eng/Ger)* New idiomatic piano reduction by Rasmus Baumann* Singable German translation
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CA.4076704
ISBN 9790007084998. Key: F major. Language: Latin.
A good six years following its first performance in Milan (1773) a second version of Exsultate, jubilate was completed for a performance on Trinity Sunday in 1779. It has survived in a manuscript from Salzburg. This Salzburg version, which was discovered in 1978, differs from the Milan version primarily through the use of flutes instead of oboes and also through the use of two different texts for the first aria. In the first version the text refers to Christmas, whereas in the second version it refers to the festival of Trinity. Mozart's autograph of the Milan version had been thought to be missing since the second world war and it has only been accessible in the Biblioteka Jagiellonska in Krakow for a little over a decade. The present new critical edition by Wolfgang Hochstein is the first which could be based on both versions. Score available separately - see item CA.4076700.
SKU: HL.44011005
UPC: 884088637651. 9x12 inches. English-German-French-Dutch.
White Light was commissioned by Fumiko Teramoto, oboist with the Musashino Grand Concert Band in Tokyo, Japan. The request was for a moderately slow piece of intermediate difficulty that included the work “white” (Ms. Teramoto's lucky color) in the title. The composer used this suggestion to write a piece that was both bright and light in terms of harmony, color and orchestration, with much use of simple major and minor chords and an emphasis on the pure, transparent timbres of the upper woodwinds of the band; he was also keen to capture the essence and history of the oboe as a solo instrument. The piece is pastoral in character and often almost baroque in style. It opens with a chorale-like passage on flutes and clarinets; the soloist enters with a recitative over trilling clarinets. The main theme is then introduced, accompanied by the woodwinds. After a short bridge passage, a change of key heralds a second theme by the soloist, with gentle brass punctuations. This builds to a climax, ending on a high trill from the soloist. After short passage over a timpani roll, the band recalls the main theme, taken up once again by the soloist. This leads to a short cadenza before the closing bars bring the work peacefully to a close.
SKU: KN.63320S
UPC: 822795633207.
Based on the chord changes to Flamingo, this medium tempo samba features easy-to-play rhythms, an open solo section, and plenty of unison melodies. Written for beginning groups, the open solo section features any soloist, with solo sheets provided in all keys along with scales to assist students in improvisation. Duration 3:05.
SKU: CA.5505309
ISBN 9790007226565. Text language: English/German.
Saul, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and parts available separately - see item CA.5505300.
SKU: SU.28170190
A rhapsodic, soaring adventure for solo flute and wind ensemble that expresses various emotions and color throughout.solo fl; pic,2fl,2ob,3cl,bcl,2bn 2asx,tsx,bari; 3tpt,4hn,2tbn,btbn,euph, tba; timp; cb Duration: 9' Composed: 2015 Published by: Raphael Press Performance materials available on rental:.
SKU: CF.CPS225
ISBN 9781491152515. UPC: 680160910014.
Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section, lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted. We set up a “Skype†meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.
SKU: CF.CPS225F
ISBN 9781491153192. UPC: 680160910694.
SKU: BR.EB-9397
ISBN 9790004188712. 9 x 12 inches.
World premieres:I version for flute: Wiesbaden, 1972II version for piano: Nyon, 1972III version for var. insts.: Cologne, May 29, 1976VI version for accordeon: Fribourg, June 25, 1987VIII version for violoncello Tokyo: October 14, 1989X version for organ: Stuttgart, March 28, 2018This work (A Breath of the Untimely) was first written for solo Flute and dedicated to Aurele Nicolet. Its bears the subtitle Lament on the Loss of Musical Thought - some Madrigals for Solo Flute or Flute with any other Instruments. This serves as a playing instruction but doubles at the same time as an outmoded programme: it refers back to the musical origin of the opening lamenting motif, a tradition which was once of its time but is not of our time - namely the Lamento genre which gave the title to the Chaconne in Purcell's opera Dido and Aeneas. Almost simultaneously I wrote a second version for Piano (for Piano one-and-a-half hands), which already formulates possible approaches for the performer, in some detail, to the indicated, quasi-canonic version of the piece in the programme. The multiple version Ein Hauch von Unzeit III realizes a concrete version of a formal state which floats between strict canon and aleatoric principles: each of the musicians who are spread throughout the hall introduces their own idiomatic translation of the flute part. And so the music exists, omnipresent, not only spatially throughout the hall, but also formally in a sort of fluctuating simultaneity. For that reason, it was my express wish to any potential interpreter that they should construct entirely their own version of the piece. A healthy number of musicians have responded to my suggestion - versions of the piece have now been made for guitar (Cornelius Schwehr, Gunther Schneider), accordion (Hugo Noth), double bass (Fernando Grillo), violin (Hansheinz Schneeberger), viola, violoncello, and double bass (trio basso, Koln), violoncello (Michael Bach), trombone (Andrew Digby) and, created by myself, a sung version for voice (to words by Georg Wilhelm Friedrich Hegel und Max Bense), and for viola.The most important requirement for the whole piece is absolute stillness, which should as far as possible emanate from the performer. The pauses are occasionally in this respect the most important element. These may, if one can find the necessary stillness, become very long.Ein Hauch von Unzeit (A Breath of the Untimely) - time almost dissolves!(Klaus Huber, 1989/2014 - translation: David Alberman)CD:Jean-Luc Menet (Bass flute)CD Traversieres 120.270Jean-Luc Menet (fl)CD STR 37039Bibliography:Zimmermann, Heidy: Zeitgestaltung im Kompositionsprozess bei Klaus Huber - dargestellt anhand von Skizzen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, S. 90-109.
SKU: PR.114422360
ISBN 9781491133828. UPC: 680160683321. 9 x 12 inches.
Based on an Armenian troubadour song, I WILL NOT BE SAD IN THIS WORLD is a uniquely beautiful work for alto flute (or bass flute) accompanied by a pre-recorded audio track made purely from the composer’s own singing. The result is a fluid interplay between the live flute and the composer’s multi-tracked and processed vocal sonorities. The work was created for Marya Martin’s “Eight Visions†collection (published by Presser), and is now available as a single publication.I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil†by the legendary 18th-century Armenian troubadour Sayat Nova. The song is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.In playing this piece, you will want to be flexible with time: the 32nd notes are mostly notated grace notes coloring the following note, and can be compressed towards that next note for effect. Similarly, the meter should be downplayed: use the pre-recorded part to give you guideposts, and then shape your phrases quite freely around those guideposts.I strongly suggest that you listen to my demo recording of the piece, as it will give an indication of what I am looking for. I have not transcribed every note that I sang on the demo, and similarly, once you feel comfortable with the playing style, you can ornament the melody with some flexibility yourself. The notated turns are meant to indicate places where it is most natural to do some ornamentation.The piece can be played on either alto flute or bass flute. I am hoping for a certain vulnerability in your playing, so choose the flute that will help you most with that. If you are playing in a dry hall, you might consider slight amplification, not for volume, but to allow you to add reverb to your sound. It will then be easier to blend well with the tape part.Optionally, one (or even two) additional flutists may double the lines called “voice†that are part of the tape part. The additional player(s) should play more softly than the soloist, and get even softer as the piece progresses and the electronics take over.* * *Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.The audio accompaniment and the demo are available for free download from the “Additional Downloads†tab at www.presser.com/114-42236.
SKU: GI.G-8287
UPC: 785147828709. English. Text by Chris de Silva.
Appropriate for any celebration of thanksgiving to God, this bright, rhythmic setting offers many options for cantor or soloist with two- and three-part choral texture interjected into the verses and the refrain. Try it as a song of thanksgiving at the end of a Eucharistic celebration. For cantor or soloist.
SKU: CL.SCM-1016-00
Even eighth ballad written to allow multiple soloists. By leaving out the appropriate section part and substituting the Opt. Solo part, you can feature Alto, Trumpet, Tenor, Trombone, Guitar, Flute or even piano as the featured soloist.
SKU: GI.G-8313
UPC: 785147831303. English. Text Source: Vv. based on Joel 2:13, 17, Baruch 3:5-6. Text by Chris de Silva. Scripture: Joel 2:13, 17, Baruch 3:5–6.
Here is a versatile and useful piece for many occasions. The refrain should be repeated a few times at the beginning until it becomes almost mantra-like for the assembly. After gaining confidence, the refrain may be sung in canon. Depending on which verses are used (Gathering, Distribution of Ashes, or Communion), a soloist or SATB voices can be used. For cantor or soloist.
SKU: CL.SCM-1102-00
An entertaining medium tempo blues chart by Mike Carubia that opens with a unison melody by the brass which is repeated with the saxes playing the background harmonies. Following the solo section for the soloists of your choice, the piano and bass are featured. Concludes with a quiet ensemble chorus that builds into an exciting shout chorus. Very flexible for soloists in an easy blues key (Bb). Moderately high ranges with optional notes provided and an optional flute part is included.
SKU: CL.SCM-1102-01
SKU: AP.1-ADV14768
UPC: 805095147681. English.
A new and exciting and unique way for bassists to learn and practice how to play in a jazz rhythm section and how to accompany a jazz soloist.This book/audio set features 15 solo etudes based on blues and standard chord progressions, demonstrated by different soloists along with a world-class rhythm section: Dave Hazeltine, piano; Paul Gill, bass; and Kenny Washington, drums. The recording features two separate versions of each etude: one with the complete rhythm section and one without the piano. Sit in for Paul and comp for Jim Snidero, alto sax; Eric Alexander, tenor sax; Ryan Kisor, trumpet; Slide Hampton, trombone; or Joe Cohn, guitar.Compatible editions are available for alto and baritone, tenor and soprano saxophone, flute, clarinet, trumpet, trombone, violin, guitar, piano comping, and drums making it invaluable for larger ensemble instruction.
SKU: CL.SCM-1016-01
SKU: SU.80400040
Voicing: Soli, Mixed Chorus, Chamber EnMixed Chorus, 2 Sopranos, Mezzo-Soprano, 3 Tenors, Baritone, flute, oboe, clarinet, percussion, harp, organ, 2 violins, viola, cello, bass, Duration: 60:00 Minutes Commissioned by: House of Hope Presbyterian Church Dedication: Premiered by: April 24, 25, 27, 1997; St. Paul, MN; Thomas Lancaster, Conductor Copyright 1997 Publisher: Paulus Publications Text author: Michael Dennis Browne (SP106).
SKU: HL.14047933
8.0x12.0x0.177 inches.
The Study Score for Simon Holt 's Morpheus Wakes , a concerto for Flute or Alto Flute and Orchestra. Commissioned by BBC Radio 3, this work was first performed at the BBC Proms on 27th July 2014 at the Royal Albert Hall in London. A full performance lasts around 15 minutes. Morpheus Wakes is a Flute concerto in two movements. In the first, the soloist plays the Alto Flute, before switching to Flute for the second.
SKU: HL.50610135
9.0x12.0x0.188 inches.
The cycle Scenes for solo flute, written in September 1997 and dedicated to Ãdám Szokolay, occupies an extraordinary place in György Kurtág's oeuvre. The premiere of the long-withheld composition was held in 2016 on the composer's 90th birthday. Each movement in the cycle reformulates familiar gestures of Kurtág's music: it develops pensive, impetuous, ethereal or playful characters. Signs, Games and Messages are collections for solo instruments and small chamber ensembles. Each of the three words refers to an essential factor in Kurtág's music. Signs ties to the composer's study year in Paris as a young man, when he could not compose but merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are actually diary-notes and missives to musicians and friends important to Kurtág. The collection - like similar collections for string and wind instruments - does not form a coherent cycle; thepieces can be played individually, or in various orders, or together with pieces from Signs, Games and Messages written for other instruments.
SKU: SU.26020090
Includes Score with Flute & Harp parts.Three poems about mortality and being here: an epigram by Thomas Wyatt, an excerpt from The Book of Job – the epic poem of moral outrage and anxiety that has served us well during trying times – and a lyric by Phillis Levin, plus a solo flute interlude, which can be performed separately. Mezzo-Soprano, Flute & Harp Duration: 12' Composed: 1995/2003 Published by: Rude Awakening Music.
SKU: MB.95381
ISBN 9780786603213. UPC: 796279023641. 8.75 x 11.75 inches.
Whispering Stones won the award for â??Best Recordingâ? from the Washington Area Music Association and has continued to be a favorite with fans of fingerstyle guitar music throughout the world. The book features Celtic-inspired original and traditional tunes performed on solo acoustic guitar with the occasional addition of flute, mandolin, cello, piano, or bells. The tunes appear in the same order as in the recording. Al Petteway is an award-winning fingerstyle guitarist and composer. His many â??Wammieâ? awards from the Washington Area Music Association include â??Artist of the Yearâ? and â??Musician of the Yearâ?. Alâ??s playing fuses Celtic/British ideas and tunings with American themes and drive. Acoustic Guitar Magazine praised his â??concise, clean arrangements similar to John Renbournâ??s better workâ??. In notation and tablature.
SKU: AP.1-ADV1107
ISBN 9783892211280. UPC: 805095011074. English. [Chet Baker] Transcr. Wolfgang Lackerschmid.
Includes eight transcriptions of Chet's improvised solos for B flat and C concert instruments. Chet's solo were spliced out on eight audio tracks, so you can sit in and play Chet's solos along with his original accompaniment, or improvise your own ideas. For inspiration this edition contains three complete tracks. Some of the tracks feature an intimate accompaniment of vibes, bass (sometimes an additional guitar and flute), while others are from sessions with Larry Coryell, Buster Williams, and Tony Williams.
SKU: AP.1-ADV8900
UPC: 805095089004. English.
This arrangement is playable with or without rhythm section. It includes completely notated rhythm section parts, including piano voicings and bass lines and fully notated jazz solos. Compatible with the saxophone edition.
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