| Magnificat E flat major, BWV 243a Barenreiter
3 trumpets, 2 oboes, 2 recorder, timpani (Trumpets (3), Oboes (2), Recorders (2)...(+)
3 trumpets, 2 oboes, 2 recorder, timpani (Trumpets (3), Oboes (2), Recorders (2), Timpani) SKU: BA.BA05208-65 First version. Composed by Johann Sebastian Bach. Edited by Alfred Durr. This edition: urtext edition. Stapled. Barenreiter Urtext. First version. Set of wind parts. BWV 243A. Duration 30 minutes. Baerenreiter Verlag #BA05208_65. Published by Baerenreiter Verlag (BA.BA05208-65). ISBN 9790006503728. 32.5 x 25.5 cm inches. Key: E-flat major. 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
$43.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Missa brevis F major, KV 192 (186f) Brass Quintet: other combinaisons Barenreiter
2 trumpets, 3 trombones (Trumpets (2), Trombones (3)) SKU: BA.BA04770-65 ...(+)
2 trumpets, 3 trombones (Trumpets (2), Trombones (3)) SKU: BA.BA04770-65 Composed by Wolfgang Amadeus Mozart. Edited by Walter Senn. This edition: urtext edition. Stapled. Barenreiter Urtext. Messen, Klassik (Masses, Classical). Set of wind parts. K. 192 (186f). 4/4/7/7/7 pages. Baerenreiter Verlag #BA04770_65. Published by Baerenreiter Verlag (BA.BA04770-65). ISBN 9790006456123. 32.5 x 25.5 cm inches. Key: F major. About Barenreiter Urtext Orchestral Parts Why musicians love to play from B�¤renreiter Urtext Orchestral Parts - Urtext editions as close as possible to the composerâ��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
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vesperae solennes de Dominica KV 321 Barenreiter
2 trumpets, 3 trombones, timpani (Trumpets (2), Trombones (3), Timpani) SKU: ...(+)
2 trumpets, 3 trombones, timpani (Trumpets (2), Trombones (3), Timpani) SKU: BA.BA04893-65 Composed by Wolfgang Amadeus Mozart. Edited by Felix Schroeder and Karl Gustav Fellerer. This edition: urtext edition. Stapled. Barenreiter Urtext. Kirchenmusik, Klassik (Sacred, Classical). Set of wind parts. K. 321. 8/8/8/2/2/2 pages. Baerenreiter Verlag #BA04893_65. Published by Baerenreiter Verlag (BA.BA04893-65). ISBN 9790006459629. 32.5 x 25.5 cm inches. 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
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Lord my God, my heart and soul were sore distrest, BWV 21 Barenreiter
Oboe, bassoon, 3 trumpets, 4 trombone, timpani (Oboe, Bassoon, Trumpets (3), Tro...(+)
Oboe, bassoon, 3 trumpets, 4 trombone, timpani (Oboe, Bassoon, Trumpets (3), Trombones (4), Timpani) SKU: BA.BA10021-65 Cantata for the 3rd Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by George S. Bozarth and Paul Brainard. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. BWV 21. 9/8/1/1/1/1/1/1/1/1 pages. Baerenreiter Verlag #BA10021_65. Published by Baerenreiter Verlag (BA.BA10021-65). ISBN 9790006538041. 32.5 x 25.5 cm inches. The cantataIch hatte viel Bekummernisdates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle . Its assigning to the third Sunday after Trinity probably only occurred the following year. With its large-scale structure and strong emphasis on biblical texts, it was extremely popular in the 19th century and remains one of Bach's best-known cantatas today. The cantata is published here in a vocal score based on the New Bach Edition with an idiomatic, straightforward piano reduction by Martin Focke . - One of Bach's best-known cantatas - Urtext based on theNew Bach Edition - Clear straightforward piano reduction
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
$33.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705511 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Violin 1. Op. 45. 24 pages. Duration 70 minutes. Carus Verlag #CV 27.055/11. Published by Carus Verlag (CA.2705511). ISBN 9790007199630. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705513 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Viola. Op. 45. 28 pages. Duration 70 minutes. Carus Verlag #CV 27.055/13. Published by Carus Verlag (CA.2705513). ISBN 9790007199654. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705514 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Cello. Op. 45. 28 pages. Duration 70 minutes. Carus Verlag #CV 27.055/14. Published by Carus Verlag (CA.2705514). ISBN 9790007199661. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB [Score and Parts] Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705509 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. 1x 27.055/21 piccolo, 1x 27.055/22 flute 1, 1x 27.055/23 flute 2, 1x 27.055/24 oboe 1, 1x 27.055/25 oboe 2, 1x 27.055/26 clarinet 1, 1x 27.055/27 clarinet 2, 1x 27.055/28 bassoon 1, 1x 27.055/29 bassoon 2, 1x 27.055/30 contrabassoon, 1x 27.055/31 horn 1, . Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Set of Orchestra Parts. Op. 45. 232 pages. Duration 70 minutes. Carus Verlag #CV 27.055/09. Published by Carus Verlag (CA.2705509). ISBN 9790007199623. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and parts available separately - see item CA.2705500. $116.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705505 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Choral Score. Op. 45. Duration 70 minutes. Carus Verlag #CV 27.055/05. Published by Carus Verlag (CA.2705505). ISBN 9790007041694. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score available separately - see item CA.2705500. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Canon Brass ensemble - Intermediate Eighth Note Publications
By Johann Pachelbel. Arranged by David Marlatt. For Brass Choir (4.4.3.1.1). Bra...(+)
By Johann Pachelbel. Arranged by David Marlatt. For Brass Choir (4.4.3.1.1). Brass - Brass Choir. Baroque. Level: Medium-Difficult. Duration 00:05:30. Published by Eighth Note Publications.
$30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705549 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Organ. Op. 45. Duration 70 minutes. Carus Verlag #CV 27.055/49. Published by Carus Verlag (CA.2705549). ISBN 9790007199685. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500. $13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Ein Deutsches Requiem (German Requiem) Choral SATB Carus Verlag
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 ...(+)
Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ] SKU: CA.2705512 To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Violin 2. Op. 45. 24 pages. Duration 70 minutes. Carus Verlag #CV 27.055/12. Published by Carus Verlag (CA.2705512). ISBN 9790007199647. Language: German. Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Saul Choral SATB [Score] Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpet...(+)
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, timpani, 2 violins, viola, harp, bells, organ, basso continuo SKU: CA.5505300 Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Full score. Composed 1739. HWV 53. Duration 165 minutes. Carus Verlag #CV 55.053/00. Published by Carus Verlag (CA.5505300). ISBN 9790007167639. 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. $166.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Last Judgment (Die letzten Dinge) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score and Parts] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, 2 violin, viola, cello, contrabass SKU: CA.2300319 Oratorio. Composed by Louis Spohr. Edited by Dieter Zeh, Irene Schallhorn. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. German title: Die Letzten Dinge (Oratorium). Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1865-68. Op. 61. Duration 80 minutes. Carus Verlag #CV 23.003/19. Published by Carus Verlag (CA.2300319). ISBN 9790007133849. Language: German/English. In honor of the 150th anniversary of the death of Louis Spohr, for the first time Carus is publishing a critical edition of The Last Judgment, the most important of his four oratorios. It was first performed on Good Friday, 1826 in Kassel. It is based on the theologically most significant portions of the Revelations of John in the New Testament, whose visions of death and eternity Spohr vividly portrayed in music. The work represents an important enrichment to the repertoire of the oratorio, especially suitable for the end of the church year. It is captivating on account of its masterful instrumentation, excellent use of chromaticism, large-scale solo recitatives and accessible choral passages filled with heartfelt sensitivity on the one hand, and exciting drama on the other. Score and parts available separately - see item CA.2300300. $574.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Last Judgment (Die letzten Dinge) Soli, Mixted choir and accompaniment satb (soli), SATB (choir), Orchestra [Score and Parts] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, 2 violin, viola, cello, contrabass SKU: CA.2300309 Oratorio. Composed by Louis Spohr. Edited by Dieter Zeh, Irene Schallhorn. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. Awards / Prizes: Deutscher Musikeditionspreis Best Edition. German title: Die Letzten Dinge (Oratorium). Sacred vocal music, Oratorios. Set of Orchestra Parts. Op. 61. 244 pages. Duration 80 minutes. Carus Verlag #CV 23.003/09. Published by Carus Verlag (CA.2300309). ISBN 9790007198589. Language: German/English. In honor of the 150th anniversary of the death of Louis Spohr, for the first time Carus is publishing a critical edition of The Last Judgment, the most important of his four oratorios. It was first performed on Good Friday, 1826 in Kassel. It is based on the theologically most significant portions of the Revelations of John in the New Testament, whose visions of death and eternity Spohr vividly portrayed in music. The work represents an important enrichment to the repertoire of the oratorio, especially suitable for the end of the church year. It is captivating on account of its masterful instrumentation, excellent use of chromaticism, large-scale solo recitatives and accessible choral passages filled with heartfelt sensitivity on the one hand, and exciting drama on the other. Score and parts available separately - see item CA.2300300. $182.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Saul Choral SATB [Score] Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpet...(+)
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, timpani, 2 violins, viola, harp, Carillons, organ, basso continuo SKU: CA.5505301 Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Full score. Composed 1739. HWV 53. 304 pages. Duration 165 minutes. Carus Verlag #CV 55.053/01. Published by Carus Verlag (CA.5505301). ISBN 9790007143367. 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 available separately - see item CA.5505300. $204.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rocket Surgery [Score] - Easy Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3 SKU: CF.CPS256F Composed by Chris Campbell. Full score. 21 pages. Carl Fischer Music #CPS256F. Published by Carl Fischer Music (CF.CPS256F). ISBN 9781491159729. UPC: 680160918317. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience! $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Rocket Surgery - Easy Carl Fischer
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Cra...(+)
Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3 SKU: CF.CPS256 Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+16+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256). ISBN 9781491159712. UPC: 680160918300. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!. As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhaps a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience! $85.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Flirt Jazz Ensemble [Score and Parts] - Intermediate Kendor Music Inc.
Jazz Ensemble plus opt. 5th Trumpet2nd Trumpet has opt. double on flugelhorn - G...(+)
Jazz Ensemble plus opt. 5th Trumpet2nd Trumpet has opt. double on flugelhorn - Grade 3.5 SKU: KN.52320 Composed by Bill Holman. Kendor Jazz Archive Series. Ballad. Score and set of parts. Duration 5 minutes, 10 seconds. Kendor Music Inc #52320. Published by Kendor Music Inc (KN.52320). As recorded by Count Basie on the album I Told You So, this contemporary ballad in a slow swing groove features solos for piano, tenor sax, and trumpet (or flugelhorn). Tenor and trumpet also pair up on two soli passages, one near the beginning and another near the end, for a fresh sound. Duration 5:10. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flirt (Full Score) - Intermediate Kendor Music Inc.
Jazz Ensemble plus opt. 5th Trumpet2nd Trumpet has opt. double on flugelhorn - G...(+)
Jazz Ensemble plus opt. 5th Trumpet2nd Trumpet has opt. double on flugelhorn - Grade 3.5 SKU: KN.52320S Composed by Bill Holman. Kendor Archive Editions. Kendor Music Inc #52320S. Published by Kendor Music Inc (KN.52320S). As recorded by Count Basie on the album I Told You So, this contemporary ballad in a slow swing groove features solos for piano, tenor sax, and trumpet (or flugelhorn). Tenor and trumpet also pair up on two soli passages, one near the beginning and another near the end, for a fresh sound. Duration 5:10. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Now my soul exalts the Lord BWV 10 - Intermediate Barenreiter
First oboe, second oboe, trumpet (1. Oboe, 2. Oboe, Trumpet) - Level 3 SKU: B...(+)
First oboe, second oboe, trumpet (1. Oboe, 2. Oboe, Trumpet) - Level 3 SKU: BA.BA10010-65 Cantata for the Feast of Visitation B. V. M.. Composed by Johann Sebastian Bach. Edited by Uwe Wolf. This edition: urtext edition. Folded. Barenreiter Urtext. Set of wind parts. BWV 10. 4/4/2 pages. Baerenreiter Verlag #BA10010_65. Published by Baerenreiter Verlag (BA.BA10010-65). ISBN 9790006561537. 32.5 x 25.5 cm inches. Johann Sebastian Bach's chorale cantataNow my soul exalts the Lord(BWV 10) was composed in 1724 for the Feast of Visitation (2 July). Its themes are based on the Marian hymn of praise (Magnificat) from the Gospel according to Luke.
Bach gave the free combination of poetic paraphrase and Biblical text a varied musical setting ranging from the mighty opening chorus via two large arias to an intimate duet and richly pictorial recitatives. Despite the small instrumental forces ofad libitumtrumpet, two oboes, strings and basso continuo, Bach creates a majestic musical language appropriate to the Magnificat. This Urtext performing edition is based on theNew Bach Edition.
* Bach cantata with a small instrumental ensemble * Based on the Urtext of theNew Bach Edition * Performance duration of 20-25 minutes
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
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Clock Tower - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tambourine, Temple Blocks, Timpani, Trombone, Trumpet, Tuba, Xylophone, alto Saxophone and more. - Grade 1 SKU: CF.BPS145 Composed by Richard Summers. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+2+2+6+2+3+1+1+2+2+16 pages. Duration 2:15. Carl Fischer Music #BPS145. Published by Carl Fischer Music (CF.BPS145). ISBN 9781491161258. UPC: 680160919840. Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London. Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London.  Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. . $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Alas! Babylon's Final Sunset Orchestra Subito Music
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee II...(+)
Orchestra SKU: SU.94010400 For Orchestra. Composed by James Lee III. Orchestra. Study Score. Subito Music Corporation #94010400. Published by Subito Music Corporation (SU.94010400). 2,1 2,1 2,1 2,1; 4331; timp, perc(3), cel, hp; stgs Duration: 11' Composed: 2013 Published by: Subito Music Publishing Performance materials available on rental: Alas! Babylon’s Final Sunset is another installment in my series of works that musically comment on the biblical books of Daniel and Revelation. The principal source of inspiration for this works comes from the 18th chapter of the book of Revelation. This chapter states that the career of Babylon the Great is finally coming to an end. The music begins with a mysterious pianissimo tremolo accompanied by tam-tam and bass drum. The initial flourishes in the oboes and English horn serve as the principal motive of warning. As the music continues, there are varying degrees of agitation among the strings and woodwinds. Throughout the work there are rhythmic motives in the brass, percussion, and various woodwind instruments that sing and speak Babylon is Fallen in triple meter. As the tutti ensemble arrives at a climax, the orchestral texture becomes thinner and slightly transparent. As the music continues, the opening motive returns in the oboes, however the counterpoint produces a series of solo laments. These passages are intended to provide picturesque images of these words: And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; And the light of a candle shall shine no more at all in thee. and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. And in her was found the blood of prophets, and of saints, and of all that were slain upon the earth. Rev. 18:22-24 The following passages musically comment on the historical career of Babylon with a sense of her impending destruction. The series of laments transforms into the more emphatic rhythmic motive Babylon is Fallen. The orchestral texture begins to become more condense, once again, with the initial flourishes of, but with notable variations. Finally, the celesta, harp, oboes, English horn, and strings sing profundities that are finally transformed into a minor mode tonality that fades away with the ringing of the tam-tam. Babylon has finally seen her last sunset. $36.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Magnificat in C major D 486 Barenreiter
First oboe,second oboe,Bas.1,Bas.2,first trumpet,second trumpet,Timp. (1. Oboe, ...(+)
First oboe,second oboe,Bas.1,Bas.2,first trumpet,second trumpet,Timp. (1. Oboe, 2. Oboe, 1. Bassoon, 2. Bassoon, 1. Trumpet, 2. Trumpet, Timpani) SKU: BA.BA05657-65 Composed by Franz Schubert. Edited by Rudolf Faber. This edition: urtext edition. Folded. Barenreiter Urtext. Set of wind parts. D 486. 3/3/2/2/3/3/3/3/3 pages. Baerenreiter Verlag #BA05657_65. Published by Baerenreiter Verlag (BA.BA05657-65). ISBN 9790006566419. 32.5 x 25.5 cm inches. Key: C major. Praktische Ausgabe zum Band Kleinere kirchenmusikalische Werke II (Neue Ausgabe samtlicher Werke I/9) BA 5569-01. 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
$18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 36 Celebrated Studies for the Cornet Carl Fischer
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited b...(+)
Chamber Music Cornet SKU: CF.O88X Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X). ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches. These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within. IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony no. 9 in E minor, op. 95 "New World" Barenreiter
First flute,second flute,first oboe,second oboe,English horn,Clar.1,Clar.2,Bas.1...(+)
First flute,second flute,first oboe,second oboe,English horn,Clar.1,Clar.2,Bas.1,Bas.2,first horn,second horn,third horn,horn 4,first trumpet,second trumpet,Pos 1,Pos 2,Pos 3,trombone,Timp. ,Tri,Be (1. Flute, 2. Flute, 1. Oboe, 2. Oboe, Cor anglais, 1. Clarinet, 2. Clarinet, 1. Bassoon, 2. Bassoon, 1. Horn, 2. Horn, 3. Horn, 4. Horn, 1. Trumpet, 2. Trumpet, 1. Trombone, 2. Trombone, 3. Trombone, Tuba, Timpani, Triangle, Cymbals) SKU: BA.BA10419-65 Composed by Antonin Dvorak. Edited by Jonathan Del Mar. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. Opus 95. 155 pages. Baerenreiter Verlag #BA10419_65. Published by Baerenreiter Verlag (BA.BA10419-65). ISBN 9790006564781. 32.5 x 25.5 cm inches. Key: E minor. 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
$187.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mass F major "Missa Romana" - Intermediate Barenreiter
First oboe, second oboe, first horn (Coro I), second horn (Coro I), trumpet, sec...(+)
First oboe, second oboe, first horn (Coro I), second horn (Coro I), trumpet, second trumpet (1. Oboe, 2. Oboe, 1. Horn (Choir I), 2. Horn (Choir I), Trumpet, 2. Trumpet) - Level 3 SKU: BA.BA08958-65 Composed by Giovanni Battista Pergolesi. Edited by Caroline Ritchie and Malcolm Bruno. This edition: urtext edition. Folded. Barenreiter Urtext. Set of wind parts. 4/4/3/3/1/1 pages. Baerenreiter Verlag #BA08958_65. Published by Baerenreiter Verlag (BA.BA08958-65). ISBN 9790006557622. 32.5 x 25.5 cm inches. Key: F major. Language of work: Latin, Text language: German, English. The Missa in F of 1734 for two or four choirs is probably Pergolesi's most important work for choir and orchestra. The nickname Missa Romana was added later in reference to a performance given in Rome during Pergolesi's lifetime.
This Urtext edition presents the work for the first time in the four-choir version that Pergolesi wrote for the above mentioned performance in Rome. Choirs III and IV are reproduced in smaller type and are added to the version for double choir in order to intensify the overall sound. This allows the work to be performed not only with two choirs but also in the delightful enlarged version for four choirs. Rounding off the edition are an informative Foreword (Eng/Ger) and a Critical Commentary (Eng).
- First publication with choirs III and IV - Can be performed with both two or four choirs - Idiomatic, well-presented piano reduction. 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
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vulcan's Anvil - Beginner Carl Fischer
Band Anvil, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Anvil, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tam-tam, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 1.5 SKU: CF.FPS158 Composed by Joseph Compello. Folio. Fps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+3+6+2+3+1+1+2+3+16 pages. Duration 2 minutes, 5 seconds. Carl Fischer Music #FPS158. Published by Carl Fischer Music (CF.FPS158). ISBN 9781491158005. UPC: 680160916603. 9 x 12 inches. Vulcan's Anvil is intended for band students who have completed at least one year of instruction. In order to capture properly the character of the music, students should not confuse a Star Trek character with the title character of this piece. Explain to them that Vulcan is the ancient mythological god of fire who is often portrayed holding a hammer over an anvil at a blacksmith's hearth. Of primary importance to an effective performance is the acquisition of an instrument which produces a convincing anvil sound. If possible, consult with an orchestral percussionist who, more than likely, has used the anvil in Verdi's Anvil Chorus or in Wagner's Ring Cycle. Web searches will reveal in-depth information about anvils in music and the lore of the character Vulcan. Regarding wind instruments, articulation is always marcato. There are no tender or contrasting passages in this piece. Effective execution of crescendos will add drama to the music. As always, balance between winds and percussion is crucial. Thank you for choosing this composition. Joseph Compello. Vulcan's Anvil is intended for band students who have completed at least one year of instruction. In order to capture properly the character of the music, students should not confuse a Star Trek character with the title character of this piece. Explain to them that Vulcan is the ancient mythological god of fire who is often portrayed holding a hammer over an anvil at a blacksmith's hearth. Of primary importance to an effective  performance is the acquisition of an instrument which produces a convincing anvil sound. If possible, consult with an orchestral percussionist who, more than likely, has used the anvil in Verdi's Anvil Chorus or in Wagner's Ring Cycle. Web searches will reveal in-depth information about anvils in music and the lore of the character Vulcan. Regarding wind instruments, articulation is always marcato. There are no tender or contrasting passages in this piece. Effective execution of crescendos will add drama to the music. As always, balance between winds and percussion is crucial.Thank you for choosing this composition.Joseph Compello. $58.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Tzigane Barenreiter
First flute, second flute (flute-picc), first oboe, second oboe, first clarinet,...(+)
First flute, second flute (flute-picc), first oboe, second oboe, first clarinet, second clarinet, first bassoon, second bassoon, first horn, second horn, trumpet, harp, Cel, Tri, Timbre, Be (1. Flute, 2. Flute (Piccolo flute), 1. Oboe, 2. Oboe, 1. Clarinet, 2. Clarinet, 1. Bassoon, 2. Bassoon, 1. Horn, 2. Horn, Trumpet, Harp, Celesta, Triangle, Timbre, Cymbals) SKU: BA.BA08849-65 Concert rhapsody for violin and orchestra. Composed by Maurice Ravel. Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. 3/3/3/3/5/3/3/3/3/3/3/8/3/3 pages. Baerenreiter Verlag #BA08849_65. Published by Baerenreiter Verlag (BA.BA08849-65). ISBN 9790006541577. 32.5 x 25.5 cm inches. 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
$82.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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