Monarch Fanfare. Utilizing an array of sparkling brass figures contrasted with brief lyric passages and dynamic shifts in texture, this work is equally effective as a concert opener or any type of celebratory event. Carefully paced for a dramatic and powerful impact.

Exploring different facets of time this unique work utilizes a wide range of compositional devices including periods of carefully controlled aleatoric playing a dizzying effect of multiple ticking clocks and a variety of moods and time signatures. Densely layered harmonies are contrasted with lyric passages and soaring melodies and the overall effect of the piece is quite different and striking. Dur: c. 6:45 (MusicWorks)

Uses: General Ascension Christ the King EastertideScripture: Psalm 47The poetic imagery of this Psalm makes it usable not only as a general anthem but also for Ascension Eastertide or Christ theKing Sunday. The festive brass and percussion parts added to the organ make this an anthem of great impact. Mixed meter sections dance with more lyric passages as the anthem develops and a very special “wall of sound”section is an outstanding moment of choral virtuosity. We are proud to now offer this proven winner for men's voices! Score and Parts (tpt 1-2 hn tbn tba timp) available as a Printed Edition.

Alternating gentle lyrical passages with triumphant bold sections this arrangement of the beloved hymn is sure to enhance your worship throughout the church year. The melody passes back and forth freely between the handbells and piano with each part contributing to the harmony texture and overall effect of the piece. A key change on the last verse draws the piece to its final joyous ending. Alternating gentle lyrical passages with triumphant bold sections this arrangement of the beloved hymn is sure to enhance your worship throughout the church year. The melody passes back and forth freely between the handbells and piano with each part contributing to the harmony texture and overall effect of the piece. A key change on the last verse draws the piece to its final joyous ending.

105 Orchesterstudien aus den Werken Johann Sebastian Bachs-Excerpts from Bach's cantatas masses concertos and more all selected and edited by Evelyn Rothwell for the accomplished Oboe soloist. These difficult passages are for Oboe Oboe D'amore and Oboe Da Caccia and will help to develop your technical control while playing lyrical pieces from Bach's many famous works.

Composed at the end of 1785 Mozart?s Piano Concerto in E-flat major forms a group of three with the two famous concerti in A major K. 488 and in C minor K. 491 which he completed in March of the following year. What they all have in common is Mozart?s inclusion of Clarinets in the Orchestra for the first time. In this he succeeded to particularly impressive effect with the lyrical passages in the slow sections of the E-flat-major concerto which was well received by the audience at the first performance. Indeed his father Leopold reports in a letter that Mozart ?had to repeat? the Andante immediately. G.Henle Publishers is issuing this concerto undeservedly overshadowed by its famous siblings in a handy study edition in full score; a Piano reduction is in preparation.

Nocturne Klavierauszug mit Solostimme - KA SoloSt - violin and orchestra Henri Dutilleux was born in Angers, France, in 1916. This ten-minute Nocturne in one movement was first performed in London by Anne-Sophie Mutter. The demanding solo part has closely alternating virtuoso and lyrical passages. The orchestra accompanies and engages in a dialogue with the solo violin in a colourful and elegant manner that is typically French. The violin part in this edition contains bowings and fingerings by Anne-Sophie Mutter.

This exciting festival work is sure to captivate your students and audience. Based on Greek mythology it portrays the story of Vulcan who gave birth to fire while toiling at his anvil forging the metals of the Earth. Accidentally a spark takes flight and Vulcan attempts to crush it but it is too quick for him and eventually kindles fire. This overture combines sheer power with gripping and emotional lyrical passages for one experience you will never forget!

This lively piece draws on complex rhythms and dance elements and combines them with lyrical passages reminiscent of the haunting melodies of the Welsh folk tradition. The use of harmonics open strings and unison playing reiterate the techniques and unique sound world inhabited by folk music.

Since its premiere in 1873 this work has held an important place in the Violoncello repertoire. It is on the one hand a short charming composition; on the other hand equally important is its use in instruction during the first few years of playing. Central here are the articulation of the opening theme and its various repetitions juxtaposed with lyrical passages calling for legato playing.Christine Baur's new scholarly-critical edition is based on a thorough examination of all the sources including Saint-Saëns' later orchestral version. The edition incorporates many articulation alternatives for the soloist which are marked 'ossia' above the solo Cello line in thisversion for Cello and Piano. This important new publication offers cellists not only an Urtext part but also one with bowing and fingering; both parts have a fold-out page so that no page turns are necessary.The first Urtext edition of this important workFold-out page in the solo cello part so no page turns are neededIncludes articulation alternatives as 'ossias'

For trumpet and Piano Accompaniment-From the dynamic driving introduction to the expressively lyric Andante cantabile Concertpiece for Trumpet was created to showcase both the technical and lyrical qualities of the trumpet. Whether cascading down difficult runs negotiating its way through exciting double-tonguing passages or soaring above the ensemble during the most expressive moments the trumpet soloist is challenged to perform at an extremely high standard of excellence.After the expressive middle section the recapitulation of the opening Allegro once again re-establishes the brilliant energetic qualities of the trumpet while the following Coda focuses on the interplay between the soloist and piano. Adramatic flourish of ascending runs brings this work to a fitting conclusion.

This Trumpet Concerto was commissioned by the Ford Foundation for Gerard Schwarz. It is a unique work; a delightful palette of succulent and colourful scoring for both soloist and orchestra. The piece has attractive melodies andharmonies uses several types of mutes for colour and is written in Schuller’s personal pan-stylistic musical language. The first movement opens with a mysterious exotic-sounding Introduction marked calmo leadingto a masculine yet jaunty Allegro comodo the trumpet being assigned characteristic semiquaver passage work. The movement also includes some beautiful lyrical and rhythmically simple passages. The second movement is aScherzo-Trio-Scherzo at a vivace tempo. A short drawn out slow third movement concludes with a challenging full-page cadenza. Here the trumpet is required to play very rapid double-tonguing patterns on semiquaverpassages over a repeated quaver ostinato reminiscent of the first movement. The final movement is virtually a pyrotechnical fireworks display of musically interesting idiomatic thrilling passage work. This movement demonstratesonce again Schuller's extraordinary understanding and exploitation of the capabilities of the instruments. This edition contains a Piano reduction (by Robert Waddell) of the Concerto for rehearsal purposes only.

Here's a beautifully scored lyric piece featuring a flowing melody passed from section to section. There is also a nice variety of lighter delicate textures contrasted with dramatic full ensemble passages. Composed in memory of a mother and daughter who lost their lives in an automobile accident this is a sensitive and poignant setting appropriate for times when a memorial is called for.

for Flute and Piano-Emil Titl's Serenade was originally composed for flute and horn with orchestra or piano accompaniment. With a lilting Bel Canto style in 12/8 its lyric melody features passages of filigree work that will excite and challenge the musician's technical as well as expressive capabilities. The piece is ideal for contest or recital for the intermediate player. This edition for flute and piano has been carefully arranged and edited by world-renowned flutist and teacher Sir James Galway.