SKU: GI.001066

UPC: 641151010663. English.

This certificate is for unbaptized persons who are being fully initiated into the Roman Catholic Church through the sacraments of baptism, confirmation, and Eucharist. A lovely gift for Catechumens who are baptized, confirmed, and receive the Eucharist for the first time at the Easter Vigil or Catechumens who receive all three sacraments at another time NOTE: Not for those received into Full Communion with the Catholic Church who have been validly baptized in another Christian denomination. Use Full Communion Certificate (001067). 11 x 8.5.

SKU: GI.G-8960G

UPC: 785147896074. English. Text by Delores Dufner.

Contains O Christ, You Are the Seed That Died, We Are Blest Who Are Called and We Receive What We Are.

SKU: GI.G-10619B

SKU: CF.N1196

UPC: 680160683062.

Notes: This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Much like a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement. I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music. Thank you! - Randy Navarre.
Notes:This composition was completed in September of 1978. It was written for the Kappelle Woodwind Trio, who performed it many times including in Carnegie Recital Hall in New York City. I am particularly proud of this work, because it was the first truly mature work that I had written. Muchlike a good novel where every character introduced is developed and completed, every motif that was introduced was developed at some point in this work. When I say developed, I do not mean in the way Mozart, Beethoven, or other classical composers worked their motives in the development section, running through different keys and tonalities. In this work, I let the motives spin their way into longer themes or just show up in a different or disguised way. For example, a motif introduced in the first movement receives its final development in the final of the fourth movement.I hope the audience enjoys listening to this composition, and of course, the performers enjoy exploring and playing my music.Thank you!- Randy Navarre.

SKU: HL.51489059

UPC: 840126932898. 6.75x9.5x0.22 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: HL.51489058

UPC: 840126932904. 6.75x9.5x0.232 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. According to the autograph manuscript, the Symphony in C major no. 90 was completed in 1788 and highlights its festive character with the addition of timpani and trumpets. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: UT.QC-4

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

SKU: KJ.SO76F

3Christmas Reflections is an arrangement of three Christmas carols. The first carol, The Friendly Beasts, is a traditional English carol. It is based on an old belief that farm animals receive the gift of speech at midnight on Christmas eve. The second carol is a traditional carol from Austria. As Lately We Watched is a description of the nativity scene as observed by shepherds guarding their flocks. The third carol in the arrangement, O Come Little Children, was written by German composer, J. A. P. Schulz (1747-1800). Schulz studied music in Berlin and was a prolific composer of sacred vocal music. He also composed operettas, instrumental works, and various piano pieces. The carol is an invitation for all people, especially children, to visit the nativity.

SKU: BT.CMP-1223-07-130

A4 (210X297) inches. English.

This work for Tuba and Brass Band was commissioned by and written for internationally renowned tuba soloist Steve Sykes. The Tuba plays four notes (F, Bb, G, C) during the opening. All the themes and much of the harmonic structure are based on these fours notes and their permutations. The soloist receives ample opportunity to showcase his or her technical prowess and expressive capabilities. Fantasia for Tuba also provides plenty of interaction between the soloist and brass band.

In de loop der eeuwen is schitterende kerstmuziek geschreven. In de dertiende eeuw ontstond March of the Three Kings. Deze melodie, die wordt toegeschreven aan een anonieme monnik, is nog altijd geliefd. In Fantasia on a13th Century Carol is de melodie verwerkt in diverse variaties en stijlen, met als hoogtepunt een symfonische mars.

Dieses Werk für Tuba und Brass Band entstand im Auftrag des international renommierten Tubasolisten Steve Skyes. Zu Beginn intoniert die Tuba die vier Noten F, B G und C, auf welchen alle Themen, viele Harmonien und Permutationen basieren. Vor dem kraftvollen Schluss hat der Solist viel Gelegenheit, sein technisches Können und seine Ausdruckskraft unter Beweis zu stellen, aber auch für den Dialog mit anderen Solisten und der gesamten Brass Band ist Raum in dieser kunstvollen Fantasia.