SKU: BR.PB-5329

ISBN 9790004210420. 10 x 12.5 inches.

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

SKU: CL.111-0037-20

Part 1 - Soprano Saxophone OR Eb Alto Saxophone Part 2 - Eb Alto Saxophone Part 3 - Bb Tenor Saxophone Part 4 - Eb Baritone Saxophone.

SKU: MA.EMR-47592

The Conquering Hero / Wedding March / Silent Night / Joy To The World / Impromptu / The First Nowell / Nobody Knows / The Little Mouse / Battle Hymn Of The Republic / Nobody Knows The Trouble I've Seen / Havah Nagilah / The Carnival Of Venice...

SKU: CL.115-3792-01

Ten piece saxophone ensemble: 2 soprano, 4 alto, 2 tenor, 1 bari, 1 bass.

SKU: BR.EB-9432

ISBN 9790004189092. 0 x 0 inches.

Duration: full evening Text by the composer basesd on E.T.A. Hoffmann's tale of the same name from Serapionsbrudern Translation: ital. (G. Trampus), La sposa sorteggiata Place and time: Berlin, um 1820 Characters: Der Kommissionsrat Voswinkel (baritone) - Albertine, his daughter (mezzo-soprano) - Thusman, Freier (tenor) - Edmund Lehsen, paintor, Freier (tenor) - Baron Bensch, Freier (tenor) - the goldsmith Leonhard (baritone) - the jew Manasse (bass) - the valet Voswinkels - crowd, a Chancre (silent parts) In Busoni's musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer's compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was invention in every bar, and assigned an important role to the use of music from other sources: the Hebrew march from Rossini's Mose, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann's serapiontic principle and came closer to his idea of a timeless world music without borders.

SKU: MA.EMR-47595

The Conquering Hero / Wedding March / Silent Night / Joy To The World / Impromptu / The First Nowell / Nobody Knows / The Little Mouse / Battle Hymn Of The Republic / Nobody Knows The Trouble I've Seen / Havah Nagilah / The Carnival Of Venice...

SKU: BR.OB-5329-15

ISBN 9790004333532. 10 x 12.5 inches.

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

SKU: BT.DHP-1023120-030

If you need a beautiful slow interlude for any concert then this is the piece for you. This short work by Italian composer Thomaso Albinoni has a luscious melody that will bring tears to any eyes. For hundreds of years the manuscript of this work had been lost and was only discovered in 1945. Despite this it has become Albinoni’s best known work and has topped the classical charts on many occasions. Wonderful figures for the flugel and soprano cornet bring out extra emotion in this arrangement by Jacob de Haan.

Das Adagio, so wie es heute weithin bekannt ist, hat eine interessante Geschichte: Es wurde erst im 20. Jahrhundert von einem Musikwissenschaftler aus einem Manuskript Albinonis, welches lediglich Teile einer Melodie enthielt, rekonstruiert. Dennoch ist es gerade das Adagio, das Albinoni in der heutigen Musikwelt berühmt gemacht hat und dessen Wirkung sich auch in diesem gefühlvollen Arrangement von Jacob de Haan niemand entziehen kann.

Tomaso Albinoni (1671-1751) est né Venise. Il est le fils aîné d’un riche marchand. Dès son plus jeune ge, il développe un réel talent pour le chant et surtout pour le violon, et se met rapidement composer. Albinoni a vécu et travaillé toute sa vie durant Venise, mais a également séjourné Florence et Munich.Dans sa jeunesse, Albinoni compose de la musique sacrée mais sans grand succès. En 1694, il attire l’attention du public vénitien lors de la représentation de son premier opéra Zenobia, Regina de Palmireni (Zenobia, reine de Palmireni). Ses premières œuvres de musique instrumentale datent de la même année. Par la suite, Albinoni se consacre surtout lacomposition d’œuvres vocales (opéras et cantates) et instrumentales (sonates et concertos).C’est en travaillant sur la biographie d’Albinoni, au sortir de la Deuxième Guerre mondiale, que le musicologue milanais, Remo Giazotto, découvre la Bibliothèque Nationale de Dresde, un manuscrit inédit, sur lequel est basé le célèbre Adagio. Il semblerait que les six mesures de la mélodie et la ligne de basse retrouvées aient constitué un passage d’un mouvement lent d’une sonate trois. Vers 1945, en partant de ces éléments, Remo Giazotto reconstitue une œuvre, célèbre de nos jours, comme l’Adagio d’Albinoni, alors qu’Albinoni lui-même ne serait probablement plus en mesure de reconnaître sa pièce.

SKU: FG.55011-850-8

ISBN 9790550118508.

Einar Englund (1916-1999) was a major Finnish composer of symphonies, concertos and film music. His first symphony (1946) bears the title War Symphony, not given by the composer. He preferred to think think of it rather as a euphoric shout of joy at living to survive the hells of war. The first movement Tempo di marcia depicts seemingly never-ending marching through Karelia during the Soviet-Finnish war. Influences from Sibelius and Shostakovich are present.

American conductor Robert J. Ambrose's arrangement of Englund's Tempo di Marcia is scored for wind band. The duration is 9 minutes. This product includes the full score and the parts:

Piccolo
Flute 1-2
Oboe 1
Oboe 2 doubling English horn
Bassoon 1-2
Clarinet 1-3 B-flat
Bass Clarinet B-flat
Soprano Saxophone (opt.) (part for alto saxophone II provided in lieu of soprano saxophone)
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Horn 1-4 F
Trumpet 1-3 B-flat
Trombone 1-3
Euphonium (BC)
Tuba
Timpani
Percussion 1-4
Harp (opt.)
Double Bass.

SKU: MA.EMR-24818

1st Part: Clarinet or Soprano Saxophone or Flute or Alto Saxophone / 2nd Part: Clarinet or Alto Saxophone / 3rd Part: Clarinet or Tenor Saxophone / 4th Part: Tenor Sax or Bass Clarinet or Bassoon.

SKU: MA.EMR-24757

1st Part: Clarinet or Soprano Saxophone or Flute or Alto Saxophone / 2nd Part: Clarinet or Alto Saxophone / 3rd Part: Tenor Saxophone or Bass Clarinet.