For Flute/Piccolo, Oboe, Bassoon, Trombone (Tenor/Bass), Violin, and Contrabass....(+)
For Flute/Piccolo, Oboe,
Bassoon, Trombone
(Tenor/Bass), Violin, and
Contrabass. By PDQ Bach.
Edited by Professor Peter
Schickele. Text:
Professor Peter
Schickele. Mixed chamber
ensemble. For Piccolo,
Trombone. Score and
parts. S 50% off. 36
pages. Duration 19:00.
Published by Theodore
Presser Company.
Orchester of plucked instruments - intermediate to advanced SKU: M7.GHE-915(+)
Orchester of plucked
instruments -
intermediate to advanced
SKU: M7.GHE-915
The Complete
Repertoire composed and
arranged for Lira
Orfeo. Edited by
Stefano Grondona.
Arranged by Miguel
Llobet. This edition:
Saddle-wire stitching.
Sheet music. 112 pages.
MDS (Music Distribution
Services) #GHE 915.
Published by MDS (Music
Distribution Services)
(M7.GHE-915).
Edition for Gamba (Viola). Composed by Carl Philipp Emanuel Bach. Edited by Erns...(+)
Edition for Gamba
(Viola). Composed by Carl
Philipp Emanuel Bach.
Edited by Ernst-Gunter
Heinemann and Wolfram
Ensslin. Strings,
Repertoire, Collections.
Gamba Sonatas Wq 88, 136,
137. Baroque, Classical.
Softcover Book. 104
pages. G. Henle #HN990.
Published by G. Henle
(HU.HN990).
12.2 x 9.3 x 0.3 inches.
Like his father, Carl
Philipp Emanuel Bach
wrote three sonatas for
violada gamba. They were
written during his time
at the Berlin court of
Fred erick the Great and
gave the excellent viola
da gamba player in the
court orchestra an
opportunity to show his
virtuosic ability. While
the two Sonatas Wq 136
and 137 have a basso
continuo, Bach followed
his fathersexample as far
as the Sonata in g minor
Wq 88 was concerned: the
right and left hands of
the harpsichord compete
with the solo instrument
in three equal parts. The
original register of the
viola da gamba part also
permits a version for
viola, a practice that
has been verified in the
sources of the time. This
version is available in
our Urtext edition as an
alternative part.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 12 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-16.
Published by Breitkopf
and Haertel
(BR.OB-5329-16).
ISBN
9790004333549. 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.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02).
ISBN
9790004412046. 7.5 x 10.5
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.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (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.
Sel., transcr., and ed. Samuel Applebaum. For Cello Solo. String Series. Level: ...(+)
Sel., transcr., and ed.
Samuel Applebaum. For
Cello Solo. String
Series. Level:
Easy-Intermediate (grade
2-3). Book. 24 pages.
Published by Alfred
Publishing.
For the Developing Ensemble (Violin). By Doris Gazda; Ludwig Van Beethoven; Samu...(+)
For the Developing
Ensemble (Violin). By
Doris Gazda; Ludwig Van
Beethoven; Samuel A.
Ward; Thomas Casey.
Arranged by Doris Gazda.
For Violin I, Violin II.
Student Book. 31 pages.
Published by Carl
Fischer.
Composed by Gerard Bunk. Edited by Jan Boecker; Wolfgang Stockmeier. For organ, ...(+)
Composed by Gerard Bunk.
Edited by Jan Boecker;
Wolfgang Stockmeier. For
organ, (violin). This
edition: Urtext edition.
Paperback. Gerard Bunk.
Samtliche Orgelwerke 3.
Performance score,
Part(s), Anthology. 110/2
pages. Published by
Baerenreiter Verlag
Saxophone - Early Advanced SKU: FH.WS8 Saxophone Series, 2013 Edition<...(+)
Saxophone - Early
Advanced
SKU:
FH.WS8
Saxophone
Series, 2013 Edition.
Composed by The Royal
Conservatory. Saxophone
Series, 2013 Edition.
Book/CD. 88/36 pages. The
Frederick Harris Music
Company #WS8. Published
by The Frederick Harris
Music Company (FH.WS8).
ISBN
978-1-55440-557-2.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Mainly
Transcriptions: Sonata
, BWV 1035 - Johann
Sebastian Bach, arr.
Kathleen Wood - First
Movement - Third
Movement: Siciliano -
Fourth
Movement Sonata, TWV
41:F2 - Georg Philipp
Telemann, arr. Christine
Donkin - First
Movement - Second
Movement - Third
Movement Mainly
Original Repertoire for
Saxophone: Sonata -
Anton Bilotti - First
Movement Sonata - Alec
Wilder - First
Movement - Third
Movement Allegro -
Vaclav Nelhybel
Bb
Saxophone:
Mainly
Transcriptions: Sonata
- Johann Friedrich Fasch,
arr. Jason Noble -
First Movement - Third
Movement Sonata Prima
- Francesco Maria
Veracini, arr. Harold
Birston - First
Movement - Third
Movement - Fourth
Movement Mainly
Original Repertoire for
Saxophone: Sonata -
James di Pasquale -
Second Movement -
Third Movement Three
Songs Without Words -
Paul Ben-Haim - 1.
Arioso - 3. Sephardic
Melody
Eb
Saxophone or Bb
Saxophone:
Unaccom
panied
Repertoire: Introducti
on, Dance, and Furioso -
Herbert Couf -
[Complete] Improvisati
on (Romani) - Ronald L.
Caravan Improvisations
on Lines Where Beauty
Lingers - M. William
Karlins.
Orchestra SKU: BT.ALHE31721 Composed by Henri Dutilleux. Classical. Study...(+)
Orchestra
SKU:
BT.ALHE31721
Composed
by Henri Dutilleux.
Classical. Study Score.
96 pages. Heugel & Cie
#ALHE31721. Published by
Heugel & Cie
(BT.ALHE31721).
French.
2ème
Symphonie,
“Le Double”
is a symphonic piece for
Orchestra and chamber
orchestra composed by
Henri Dutilleux.
It was commissioned for
the 75th birthday of the
BostonSymphony Orchestra
in 1959.
The
piece features three
movements, which consists
in dialogues between the
Orchestra and the Chamber
Orchestra: I.
Animato, ma misterioso
II. Andantino
sostenuto
III.Allegro fuocoso
— Calmato
This is the
conductor's score which
also includes all parts.
Henri
Dutilleux was
internationally acclaimed
for his work winning
prizes such as the Gold
Medalofthe Royal
Philharmonic Society and
the UNESCO's
International Rostrum of
Composers, amongst many
others. His work also
includes a Piano sonata,
two symphonies, the Cello
concerto 'Tout un monde
lointain' (A whole
distant world),the Violin
concerto 'L'arbre des
songes' (The tree of
dreams) and the string
quartet 'Ainsi la nuit'
(Thus the night).
(London, Walsh, Ca 1725). By Jean-Baptiste Loeillet (1680-1730). Edited by Frede...(+)
(London, Walsh, Ca 1725).
By Jean-Baptiste Loeillet
(1680-1730). Edited by
Frederique Thouvenot,
Suzi Mohlmeier. Sonates
en trio - Divers instr.
ad libitum dont la flute
traversiere - 2 violons
et basse continue - 1 ou
2 violons et divers
instruments. For Flute,
Recorder, Oboe, Violin.
Facsimiles. Collection
Dominantes. Grade 0. 102
pages
Saddle-stitched, Solos.
Sonatinas. Book. 152
pages. Mel Bay
Publications, Inc #30989.
Published by Mel Bay
Publications, Inc
(MB.30989).
ISBN
9781513466705. 8.75x11.75
inches.
In this
book, guitarist and music
historian David Grimes
presents 20 â??small
sonatasâ? or
sonatinas, complete
with detailed performance
notes and bio sketches of
each of the contributing
composers: Leonhard von
Call, Matteo Carcassi,
Ferdinando Carulli, Mauro
Giuliani, Francesco
Molino, and Antonio
Nava. While flexible,
the early 19th-century
sonatina form usually
consists of 2 - 4
contrasting movements,
here in guitar-friendly
keys, making these pieces
ideal for performance by
intermediate-level
students.Â
In
all but the most
challenging passages,
Grimes has intentionally
kept fingering to a
minimum to allow students
to form their own concept
of this critical skill.
Then, as many bass notes
in these pieces are
played on open strings,
the player must develop a
sense of when to
selectively damp
dissonant tones or
observe a restâ??
exposing and overcoming
yet another shortcoming
in the education of many
guitarists.  Most classic guitar
teachers are familiar
with the easy didactic
studies by Carcassi,
Carulli and Giuliani;
Favorite
Sonatinas offers
more highly developed,
but not yet virtuoso
pieces by the same
Italian triumvirateâ??
plus three more composers
in a similar veinâ??
promoting confident,
enjoyable sight-reading
by guitarists of all
levels. .
Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912005
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Da, Jesu, deinen
Ruhm zu mehren. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Choral Score.
TVWV 1:531a. 2 pages.
Duration 12 minutes.
Carus Verlag #CV
39.120/05. Published by
Carus Verlag
(CA.3912005).
ISBN
9790007055622. Language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score available
separately - see item
CA.3912000.
Soprano voice solo (tenor voice), recorder f1 (violin), oboe (violin), basso con...(+)
Soprano voice solo (tenor
voice), recorder f1
(violin), oboe (violin),
basso continuo, [SATB
choir, 2 violins, viola,
cello/contrabass]
SKU:
CA.3912013
Kantate
zum 12. Sonntag nach
Trinitatis. Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. Arranged by
Klaus Hofmann. This
edition: urtext.
Stuttgart Urtext Edition:
Telemann-Archiv. German
title: Da, Jesu, deinen
Ruhm zu mehren. Sacred
vocal music, Cantatas,
Trinity, Praise and
thanks. Single Part,
Cello/Double Bass. TVWV
1:531a. 4 pages. Duration
12 minutes. Carus Verlag
#CV 39.120/13. Published
by Carus Verlag
(CA.3912013).
ISBN
9790007055653. Language:
German/English.
Thi
s three-movement solo
cantata can be performed
in several ways. The
instruments basically
required are the trio
sonata ensemble of
recorder, oboe and
keyboard instrument (+ a
continuo melody
instrument ad lib.). If
necessary, as Telemann
stated, the two woodwind
parts can be placed by
violins. The instrumental
parts can also be
augmented by a body of
strings, playing in the
ritornello sections of
the two arias. Moreover,
the new edition expands
the performance
possibilities for the
work by adding a
four-part chorus from the
more fully scored
original version, which
Telemann did not publish.
Score and part available
separately - see item
CA.3912000.
Chorus and piano (solos: SSATB - 0.0.0.1 - 2(corn).0.3.0 - str - bc) SKU: BR....(+)
Chorus and piano (solos:
SSATB - 0.0.0.1 -
2(corn).0.3.0 - str - bc)
SKU: BR.EB-32091
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Edition Breitkopf.
Cantata; Baroque.
Piano/Vocal Score. 20
pages. Duration 15'.
Breitkopf and Haertel #EB
32091. Published by
Breitkopf and Haertel
(BR.EB-32091).
ISBN
9790004186695. 7.5 x 10.5
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
Cantata based on Psalm
103 - Urtext.
Composed by Johann
Kuhnau. Edited by David
Erler. Choir; stapled.
Partitur-Bibliothek
(Score Library). Cantata;
Baroque. Full score. 52
pages. Duration 15'.
Breitkopf and Haertel #PB
32091. Published by
Breitkopf and Haertel
(BR.PB-32091).
ISBN
9790004215777. 9.5 x 12
inches.
The date of
composition of the
cantata Lobe den Herren,
meine Seele can only be
conjectured. However,
several indications
suggest an early
composition, possibly
during Kuhnau's stay in
Zittau. The work is one
of only two known
cantatas by Kuhnau in
which cornetti are scored
- the second work is the
cantata Christ lag in
Todes-Banden (PB 32034)
-, even so in combination
with three trombones as
an early baroque wind
section. In addition, the
musical texture of the
introductory Sonata can
certainly be understood
as a reminiscence of the
polychorality known from
the Renaissance and early
Baroque as well as their
connection with the basso
continuo era, since four
strings and bassoon on
the one side and five
wind instruments on the
other side face each
other over a continuous
continuo part. The text
of the cantata is a
selection of a few verses
from Psalm 103. This is
the larger scored cantata
with this textual basis;
parallel to it exists a
smaller scored one for
alto, bass, violin, oboe
d'amore and continuo.
