Band concert band - Grade 5

SKU: KJ.WB321

Composed by John Zdechlik. Conservatory Editions. Sacred. Score and set of parts. Neil A. Kjos Music Company #WB321. Published by Neil A. Kjos Music Company (KJ.WB321).

UPC: 8402701210.

John Zdechlik's newest masterwork is based on the chant melody Pange Lingua. An introspective fantasia in three parts, Sing My Tongue, Alleluia features Zdechlik's signature lush scoring in two outer lyrical sections and a central scherzo tied together with brief statements of the original chant.

Edited by Lynn Freeman Olson. For piano. Format: piano solo book. With introductory text. Baroque, classical period, romantic period and 20th century. Series: Keyboard (Essential Keyboard Repertoire). 9x12 inches. Published by Alfred Publishing.

Band concert band - Grade 5

SKU: KJ.WB321F

Composed by John Zdechlik. Conservatory Editions. Sacred. Score. Neil A. Kjos Music Company #WB321F. Published by Neil A. Kjos Music Company (KJ.WB321F).

John Zdechlik's newest masterwork is based on the chant melody Pange Lingua. An introspective fantasia in three parts, Sing My Tongue, Alleluia features Zdechlik's signature lush scoring in two outer lyrical sections and a central scherzo tied together with brief statements of the original chant.

Grade 2

SKU: CL.LDP-7055-00

Fantasia on Two Traditional Carols. Composed by Broege. Concert Band. Score and set of parts. Composed 1995. Duration 3 minutes, 3 seconds. Daehn Publications #LDP-7055-00. Published by Daehn Publications (CL.LDP-7055-00).

The Coventry Carol is treated slowly in chorale style in opening, followed by a jig-like scherzo setting of We Three Kings. The carols/styles alternate throughout the work with the melody of The Coventry Carol eventually appearing in the style of We Three Kings. A intriguing treatment of two traditional carols that adds variety to your holiday concert.

By Felix Mendelssohn. Edited by Willard A. Palmer. For Piano. Piano Solo. Masterwork. Level: Early Advanced (grade 6 ). Sheet. 8 pages. Published by Alfred Publishing.

Grade 2

SKU: CL.LDP-7055-01

Fantasia on Two Traditional Carols. Composed by Broege. Concert Band. Extra full score. Composed 1995. Duration 3 minutes, 3 seconds. Daehn Publications #LDP-7055-01. Published by Daehn Publications (CL.LDP-7055-01).

The Coventry Carol is treated slowly in chorale style in opening, followed by a jig-like scherzo setting of We Three Kings. The carols/styles alternate throughout the work with the melody of The Coventry Carol eventually appearing in the style of We Three Kings. A intriguing treatment of two traditional carols that adds variety to your holiday concert.

Orchestra (Full Score)

SKU: HL.347399

Full Score. Composed by Stephen Hartke. LKM Music. Classical. Softcover. 148 pages. Lauren Keiser Music Publishing #X075092. Published by Lauren Keiser Music Publishing (HL.347399).

ISBN 9781540095381. UPC: 840126927443. 9.0x14.0x0.686 inches.

Hartke's cello concerto, Da Pacem, takes its title from a Latin hymn that begins “Grant peace in our day.” It is a reflection on these unsettled and unsettling times. As the work's protagonist, the solo cellist journeys through a considerable variety of musical landscapes. Movements: I. Da Pacem (Fantasia) II. In diebus nostris (Scherzo) III. Quis pugnat pro nobis? (Introduction, Elegy, and Envoi) Commissioned by Oberlin College and Conservatory; the Saint Paul Chamber Orchestra; the Aspen Music Festival, Robert Spano, Music Director; and American Composers Orchestra.

Violin & piano

SKU: OU.9780193592735

For violin and piano. Composed by Ralph Vaughan Williams. 56 pages. Oxford University Press #9780193592735. Published by Oxford University Press (OU.9780193592735).

ISBN 9780193592735. 12 x 9 inches.

Frederick Grinke (the dedicatee) and the pianist Michael Mullinar premiered this sonata in 1954. The opening Fantasia contrasts a rhythmic piano figure with a slow flowing theme on the violin, while the second movement is a march-like Scherzo.

(For Piano and String Quartet (Full Score)). By George Rochberg. Piano quintet. For Piano, Violin I, Violin II, Viola, Cello. First performance: Jerome Lowenthal and the Concord String Quartet on March 15, 1976 at Alice Tully Hall. Full score (study). Standard notation. 128 pages. Duration 48 minutes. Published by Theodore Presser Company

For piano. Les Classiques favoris. Classical. Grade 3. Score. 136 pages. Published by Editions Henry Lemoine

Edited by Margery Halford And Willard A. Palmer. For Piano. Piano Collection. Alfred Masterwork Edition. Masterwork. Level: Intermediate / Early Advanced (grade 4/5/6/6 ). Book. 64 pages. Published by Alfred Publishing.

Best Of Classics for Intermediate Piano composed by Various. Arranged by Tony Santorella and Craig Stevens. For piano. This edition: Paperback. Collection. Classical. Intermediate to Advanced. Collection. Text Language: English. 204 pages. Published by Santorella Publications

Violin and cello

SKU: NR.44845

Violine und Cello, 1985 1985. Composed by Violeta Dinescu. String instruments. Score. Composed 1985. Noten Roehr #44845. Published by Noten Roehr (NR.44845).

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
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Opera in Two Acts. By Mark Adamo. Vocal Score. Size 9x12 inches. 400 pages. Published by G. Schirmer, Inc.

95 Early / Late Intermediate Miniatures - Baroque to Modern. Edited by Maurice Hinson. For Piano. Piano Collection. Essential Keyboard Repertoire. Masterwork. Level: Early Intermediate / Late Intermediate. Book. 144 pages. Published by Alfred Publishing. (

Composed by Johann Sebastian Bach (1685-1750). For Piano. Piano Collection. 648 pages. G. Schirmer #LB2102. Published by G. Schirmer

By Wilhelm Middelschulte. Edited by Hans-Dieter Meyer, Jurgen Sonnentheil. For Organ. This edition: Urtext Edition; Paperbound. Collection. 105 pages. Published by Baerenreiter Verlag (German import).