(A book of orchestral excerpts). By Keith Hartley. For Double bass technique boo...(+)
(A book of orchestral
excerpts). By Keith
Hartley. For Double bass
technique book. Double
Bass. Double Bass Solo.
Double bass solos. Method
book. 32 pages
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(BA.BA10418-85).
ISBN
9790006564699. 32.5 x
25.5 cm inches. Key: G
major.
Mendelssohn'
s Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
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
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn.
Arranged by Harry Alshin.
Music by Felix
Mendelssohn / arr. Harry
Alshin. For String
Orchestra. String
Orchestra. String
Orchestra. Level: 4
(grade 4). Conductor
Score. 12 pages.
Published by Alfred
Publishing.
By Felix Mendelssohn. Arranged by Harry Alshin. Music by Felix Mendelssohn / arr...(+)
By Felix Mendelssohn.
Arranged by Harry Alshin.
Music by Felix
Mendelssohn / arr. Harry
Alshin. For String
Orchestra. String
Orchestra. String
Orchestra. Level: 4
(grade 4). Conductor
Score and Parts. 1 pages.
Published by Alfred
Publishing.
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano -
Advanced
SKU:
CY.CC3136
Composed by
John W. Ware. Classical.
Score and Parts. Cherry
Classics #CC3136.
Published by Cherry
Classics (CY.CC3136).
ISBN 9790530111055.
8.5 x 11 in
inches.
This fine
work has sat dormant for
many years and has now
come to light thanks to
the efforts of Charlie
Vernon, Bass Trombonist
of the Chicago Symphony,
who performed this
virtuoso work as a young
performer. The concerto
is in the standard three
movement form: Fast,
slow, fast. This
publication is a
reduction from the
original orchestral
version (to be released
at some point in the
future). Here is a
description of the
Concerto by the composer,
John W. Ware. I started
on the trombone concerto
in my junior year
studying composition at
Indiana University. While
working on it, I learned
of an opportunity to make
it sort of a thesis piece
(though students didn't
write a thesis in
composition while an
undergrad). The original
version was for trombone
with string orchestra,
and it was performed by
the IU String Orchestra,
conducted by Dr. Arthur
Corra, with Robert Priez,
trombone, as part of my
senior composition
recital. I thought the
performance was quite
good (Priez played
extraordinarily well),
and the piece received a
newspaper review in the
Indiana Daily Student, in
which the reviewer wrote
that the work was almost
too exciting. I thought
at the time that he had
given me and my music a
fine compliment. I made a
piano version of the
accompaniment, shortening
and tightening the first
movement, for
performances in 1966; I
made a second revision in
1967 for a performance by
E. J. Eaton, trombonist
at the University of
Tennessee at Martin,
arriving at the form in
which the work exists
now. The first movement
is in fairly normal
sonata-allegro form, in
the key of A minor. It
alternates between
assertive and more
thoughtful moods. There
is no introduction; the
soloist enters
immediately and dominates
much of the movement. The
main theme is--by some
manipulation--a source
for most of the other
themes, and all of the
themes are used in close
proximity to each other,
including contrapuntal
combinations, especially
near the end. Originally
the movement included a
lengthy fugato, now much
shortened and including a
stretto that builds and
subsides before a cadenza
leading to a coda based
on both the principal and
secondary themes. Key
relations in this
movement, as in the other
two, are quite free and
often chromatic, with
frequent third-relations;
but returns to the tonic
at the end are emphatic.
The writing is
challenging for both
soloist and accompanist;
the piece is substantial,
requiring technique and
stamina. The second
movement is in F minor
and is also built on both
contrast and close
relationships between the
main and secondary
themes. The main theme is
heard in the piano part
before the soloist
enters. The mood is more
lyric than in the first
movement, but with
dramatic episodes also.
In this movement are some
definite derivations from
themes in the first
movement. The ending is a
sort of lengthened shadow
of the opening. The
finale returns to A
minor, with themes
slightly related to
polonaise rhythms, but
with strong echoes of
first-movement themes.
Here, too, dramatic and
lyric episodes alternate,
with dotted rhythms
frequently propelling the
music forward. The
introduction is a brief
and simple preparation
for the solo entry. Later
in the movement, a very
brief, slightly slower
section is soon overtaken
by the original tempo.
Toward the end, there is
a second cadenza, again
leading to a swift and
energetic coda. The work
is about 20 minutes in
length and is appropriate
for advanced
performers.
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Bass Clarinet in Bb.
Trios. Intermediate Music
for Three. Christmas.
Intermediate. Partbook -
Part 3. Published by Last
Resort Music Publishing
Violoncelle, Piano [Reduction] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Rec...(+)
Edited by Jan Kelley.
Arranged by Daniel
Kelley. For Cello and
Piano. Solos. Recital,
Wedding. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
Score Orchestra SKU: HL.14028658 Composed by Aulis Sallinen. Music Sales ...(+)
Score Orchestra
SKU:
HL.14028658
Composed
by Aulis Sallinen. Music
Sales America. 20th
Century. Book
[Softcover]. 112 pages.
Edition Wilhelm Hansen
#NOV890195. Published by
Edition Wilhelm Hansen
(HL.14028658).
ISBN
9780853609292.
8.25x11.75x0.333
inches.
Aulis
Sallinen's Symphony No.7
is related to J.R.R.
Tolkien's great novel The
Lord of the Rings. The
symphony does not
actually depict the
events in the novel;
rather it is a musical
expression of the
literary atmosphere and
poetry. The symphony was
commissioned by the
Gothenburg Symphony
Orchestra and composed in
1995-6. Orchestration: 3
Flutes, 3 Oboes, 3
Clarinets in B flat, 3
Bassoons, 4 Horns in F, 4
Trumpets in B flat, 3
Trombones, Tuba, Timpani,
Percussion, Celesta,
Harp, Strings. The
duration of the work is
25 minutes, full score
and orchestral material
is available for
hire.
String quartet (double
bass ad libitum) -
intermediate
SKU:
HL.49018965
Double
Bass Part. Composed
by Ludwig van Beethoven
and Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover. 8
pages. Duration 13'.
Schott Music #ED20713-15.
Published by Schott Music
(HL.49018965).
ISBN
9790001175791.
What
do Beethoven and the
children's song Fuchs Du
hast die Gans gestohlen
have in common? Nothing,
strictly speaking.
Although the song was
written as early as 1824
(and theoretically,
Beethoven could have
known it), it has not
left deep marks on his
oeuvre. But what if he
had known it? Wolfgang
Birtel pursued this
question and, in reply to
it, conceived a symphony
for string quartet:
behind each movement is
an original symphony by
Beethoven (spiced with
quotes from other works).
The children's song
appears as the main theme
in the final movement of
Symphony No. 1, in the
famous funeral march of
Eroica, fate knocks at
the door (of the goose
house) in remembrance of
Symphony No. 5, and the
work ends with Ode to the
Roast Goose (Symphony No.
9). A funny and cleverly
arranged collage, a
performing and listening
pleasure in the footsteps
of Beethoven.
Urtext der Haydn-Gesamtausgabe. In der Streichergruppe auch 2 Violino comcertato...(+)
Urtext der
Haydn-Gesamtausgabe. In
der Streichergruppe auch
2 Violino comcertato. By
Franz Joseph Haydn.
Edited by Braun, Jurgen;
Gerlach, Sonja. For
Flute, Oboe (2), Bassoon,
Horn (2), Strings. Score;
Urtext Edition. Hob.I:8.
Published by
Baerenreiter-Ausgaben
(German import).
SKU: SU.00220207 Composed by Igor Stravinsky. Strings, Contrabass. CD (PD...(+)
SKU: SU.00220207
Composed by Igor
Stravinsky. Strings,
Contrabass. CD (PDF
Scores). CD Sheet Music
#00220207. Published by
CD Sheet Music
(SU.00220207).
AVAILABLE FOR
SALE TO U.S. CUSTOMERS
ONLY The complete
Double Bass parts
[CD-ROM] for the 48
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 8:
Stravinsky, Bartók and
more. If these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
BARTÓK Rhapsody for
Piano and Orchestra,
Suite No. 1, Suite No. 2,
2 Portraits, 2 Images, 4
Pieces, Romanian Folk
Dances; CARPENTER
Adventures in a
Perambulator (Fantastic
Suite); DOHNÃNYI
Variations on a Nursery
Song; ENESCO Romanian
Rhapsody No. 1, Romanian
Rhapsody No. 2; FALLA
Nights in the Gardens of
Spain, La Vida Breve
Dance, The Three-Cornered
Hat Dances; GLAZUNOV
Violin Concerto;
JANÃCEK Lachian Dances
1-6; MILHAUDSuite No. 2
Symphonique, Saudades do
Brasil; PROKOFIEV Piano
Concerto No. 1, Piano
Concerto No. 3, Violin
Concerto No. 1, Symphony
No. 1 (Classical);
RACHMANINOFF Symphony No.
1, Symphony No. 2, Isle
of the Dead, Piano
Concerto No. 1, Piano
Concerto No. 2, Piano
Concerto No. 3; RESPIGHI
Ancient Airs and Dances
Suite No. 1, Fountains of
Rome, Concerto
Gregoriano; STRAVINSKY
Petrushka Suite, The Rite
of Spring (1911 version),
Chant du Rossignol
(original version),
Pulcinella Suite, Suite
No. 1 for Small
Orchestra, Fireworks,
L'Histoire du Soldat,
Scherzo Fantastique, Four
Studies for Orchestra,
Symphony No. 1; VAUGHAN
WILLIAMS Symphony No. 1
(Sea), Symphony No. 2
(London), Symphony No. 3
(Pastoral), Wasps
Overture (Suite),
Fantasia on a Theme of
Thomas Tallis, Fantasia
on Christmas Carols, Five
Mystical Songs Visit for
more
information
Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio, Clarinet Trio,
Saxophone Trio, Piano
Trio, Piano Quartet. For
Cello or Bassoon in C.
Trios. Intermediate Music
for Three. Christmas.
Intermediate. Partbook -
Part 3. Published by Last
Resort Music Publishing
Composed by Ralph Vaughan
Williams. Edited by David
Lloyd-Jones. Orchestral
parts for sale. Full
score. 120 pages.
Duration 28'. Oxford
University Press
#9780193413290. Published
by Oxford University
Press (OU.9780193413290).
ISBN 9780193413290. 12
x 9 inches.
For
this newly engraved
edition, editor David
Lloyd-Jones has consulted
all extant sources and
materials to create a
score matching the
composer's intentions.
The full score is
completed with Textual
Notes and Preface, and
accompanying orchestral
parts are available on
hire from the
publisher.
By Franz Joseph Haydn. Edited by Horst Walter. For Violoncello/Contrabass. Singl...(+)
By Franz Joseph Haydn.
Edited by Horst Walter.
For
Violoncello/Contrabass.
Single Part. Hob.I:101.
Published by
Baerenreiter-Ausgaben
(German import). (BA4671
82)
Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
By Franz Joseph Haydn. Edited by Horst Walter. For Flute (2), Oboe (2), Clarinet...(+)
By Franz Joseph Haydn.
Edited by Horst Walter.
For Flute (2), Oboe (2),
Clarinet (b flat) (2),
Bassoon (2), Horn (2),
Trumpet (2), Kettledrum,
Strings. Score; Urtext
Edition. Hob.I:101.
Published by
Baerenreiter-Ausgaben
(German import).
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Cl...(+)
By Ludwig van Beethoven.
Edited by Jonathan Del
Mar. For Flute (2), Oboe
(2), Clarinet (b flat)
(2), Bassoon (2), Horn
(2), Trumpet (2),
Kettledrum, Strings.
Score; Urtext Edition
(paperbound). Op. 93.
Duration 26'. Published
by Baerenreiter-Ausgaben
(German import).
By Ludwig van Beethoven. Edited by Jonathan Del Mar. For Flute (2), Oboe (2), Cl...(+)
By Ludwig van Beethoven.
Edited by Jonathan Del
Mar. For Flute (2), Oboe
(2), Clarinet (b flat)
(2), Bassoon (2), Horn
(2), Trumpet (2),
Kettledrum, Strings.
Critical Commentary
(paperbound). Op. 93.
Published by
Baerenreiter-Ausgaben
(German import). (BA9008
40)
Prague Symphony -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Cliff Eisen.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). The
Prague Symphony will
sound different with the
new Breitkopf Urtext
material. Symphony;
Classical. Part. 8 pages.
Duration 30'. Breitkopf
and Haertel #OB 5254-19.
Published by Breitkopf
and Haertel
(BR.OB-5254-19).
ISBN
9790004335246. 10 x 12.5
inches.
The present
edition is the first
since 1932 to be based on
Mozarts autograph score.
It reflects the
conviction that his
autograph scores
represent not only the
substance of his works,
but also actual
performances. A Fassung
letzter Hand is scarcely
possible.Cliff Eisen, one
of the leading Mozart
specialists of his
generation, takes
particular care in
bringing his expert
knowledge of contemporary
performance practice into
play when evaluating
authentic part material.
In the Prague Symphony,
Eisen comes to surprising
conclusions in a number
of cases, such as the
delicate matter of the
division of the bassoons
led col basso. Which of
the low strings are they
intended to play along
with? When read properly,
the sources provided a
clear-cut
answer.
The Prague
Symphony will sound
different with the new
Breitkopf Urtext
material.