(Book)

SKU: HL.49046727

Empowerment Strategies for Orchestras Book. Classical. Softcover. 128 pages. Schott Music #ORCH5008. Published by Schott Music (HL.49046727).

UPC: 196288021049.

The Corona pandemic has affected orchestra organizations around the globe since January 2020. Most of the ensembles were forced to stop operations during hard lockdown periods of public life. Freelance ensembles and privately funded orchestras faced even higher pressure than state funded ones. The pandemic has shown, how fragile orchestras may be. On the other hand the pandemic has brought forth a boost of creative alternatives from single musicians, from greater ensembles and from orchestra managements to upkeep operations under new physically distanced conditions and on the internet. Highest flexibility was shown in artistic planning, in creating new programs, in digital and recording work, in outreach and education activities, in new concert formats or support of pandemic-related charity campaigns. The pandemic has shown, how agile orchestras might be. The very questions are: What are the lessons learned from the pandemic challenges? What are new structural approaches for musicians and managements to rethink orchestral organizations for the post-pandemic future? How can the engagement of musicians and staff for the own organization be enhanced? How can the ties towards the members of already familiar audience groups be strengthened? Every co-author of this book is a specialist in his or her field. Together were looking out to all aspects from which we think thatorchestral organizations should take a breeze of fresh air and rethink their operations in the new normal after the pandemic. There is no step back, there only are steps forward.

Piano solo - Level 4

SKU: FV.FUE-3240

Composed by Ljubica Maric. Piano (Harpsichord), 2-hands. Work premiere: 1945 Belgrad by Zdenko Marasovic. Instrumental Music. Full score. Composed 1945. Duration 14'00. Furore Verlag #FUE 3240. Published by Furore Verlag (FV.FUE-3240).

ISBN 979-0-50012-824-3.

The Three Preludes for piano, written long ago, may will speak for themselves, as indeed real music. For in order to become something, there must already be some-thing. (L. Maric) These original piano pieces call for proficiency virtuoso. For concert etudes or for pianistical studies.

WPs:1945 Belgrad: Zdenko Marasovic.

By Ola Gjeilo. For Choral (SATB DV A Cappella). Walton Choral. 12 pages. Walton Music #WW1512. Published by Walton Music

Volume 1 Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024686

Tarantelle - Trois Andante - Marche chinoise. Composed by Jacques Offenbach. Edited by Jean-Christophe Keck. Boosey & Hawkes Chamber Music. Classical. Softcover. 48 pages. Bote & Bock #M202535332. Published by Bote & Bock (HL.48024686).

ISBN 9781540058768. UPC: 888680952938.

Jacqu es Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysees' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants dapres Rameau / Tambourin dapres Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse melancolique / Reverie au bord de mer / Deux ames au ciel).

Double bass (2(picc).2.2.2 - 4.2.1.1 - timp.perc - hp - str)

SKU: BR.OB-3281-27

Waltz. Composed by Johann Strauss Jr. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Dances/marches; Romantic. Part. 4 pages. Duration 10'. Breitkopf and Haertel #OB 3281-27. Published by Breitkopf and Haertel (BR.OB-3281-27).

ISBN 9790004301364. 10 x 12.5 inches.

The Blue Danube is said to be Austria's secret anthem, and alongside the Radetzky March it is the traditional encore piece at the annual New Year's Concert of the Vienna Philharmonic Orchestra. Already at its world premiere in 1867, this orchestral work triggered overwhelming enthusiasm, and the premiere of the choral version prompted a journalist to use the term Schlager (hit) for the first time in music history. The official title By the Beautiful Blue Danube is based on poems by Karl Isidor Becks; having his birth town Baja in mind, he contrasted the blue Danube with another river, the blonde Theiss. How utterly astonishing that this famous waltz is not really linked to Vienna. Be that as it may, its sensational popularity remains unimpaired.

By Cassia Harvey. For cello. Instructional; string techniques. Method book. 30 pages

TTBB with voice solo, djembe - Intermediate

SKU: GI.WW1787

Composed by Traditional South African. Arranged by Daniel Jackson. School, Concert. Walton Choral. Classical. Octavo. 16 pages. Walton Music #WW1787. Published by Walton Music (GI.WW1787).

UPC: 785147027263. Text Source: Traditional South African.

Akekho Ofana No Jesu is an African tradition song sung by congregations across the African continent. Extremely dynamic with solos and improvised percussion. The middle section repeats material that has already been sung, making it achievable for a wide variety of levels.  MP3 is SATB version.

By Nancy Telfer. (Successful Choral Curriculum). Choral Book. Level: Book B,2. Music Book. Size 232. Published by Neil A. Kjos Music Company.

Piano

SKU: BR.EB-3201

Composed by Jean Sibelius. This edition: paperback. Solo instruments; Softcover. Edition Breitkopf. Early modern; Late-romantic. Score. 8 pages. Breitkopf and Haertel #EB 3201. Published by Breitkopf and Haertel (BR.EB-3201).

ISBN 9790004161609. 9 x 12 inches.

Some of the Ten Piano Pieces op. 58 were already successfully performed during the composers lifetime. At a concert in the Solemnity Hall of Helsinki University on 10 October 1911, two of the pieces (Scherzino No. 2, Serenade No. 9) had to be repeated because of the roar of applause.. Both Sibelius and Mrs. Sigrid Sundgren-Schneevoigt were called forth with storming applause. The reviews were good, describing the pieces as the most ingenious piano compositions reduced to a small form, that have been published in Finland.

Composed by Clive Brown. Stapled. Book. Opus 64. 72 pages. Baerenreiter Verlag #BA09060. Published by Baerenreiter Verlag (BA.BA09060).

For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, Flute, Fife and Oboe, Music Styles and Regions, Classical, Jazz, Solos and Duets. Book and Insert with CD. 52 pages. Published by Mel Bay Publications, Inc

Piano

SKU: BR.SON-612

Klavierwerke 2. Composed by Jean Sibelius. Edited by Kari Kilpelainen. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 208 pages. Breitkopf and Haertel #SON 612. Published by Breitkopf and Haertel (BR.SON-612).

ISBN 9790004802786. 9 x 12 inches.

The present volume of the Complete Edition comprises a truly homogenous group: all the piano works from the Ten Piano Pieces op. 58 to the Treize Morceaux Op. 76. No doubt the best known pieces among them are the Three Sonatinas op. 67, which were played so masterfully (and were so highly esteemed) by Glenn Gould. All the pieces were written within the space of ten years, between 1909 and 1919, at a time when Sibelius was already an internationally renowned composer. He was, however, dependent on the smaller, short-term commissions and their honorariums for his livelihood. During World War I, it was impossible for Sibelius in Helsinki to maintain his contacts with the major European concert halls. This difficult situation also helped prompt the creation of the pieces written after 1914 and grouped by the composer and his Finnish publishers into the opp. 75 and 76.

Arranged by Larry Clark, Rae Moses. For full score, violin I, violin II, violin III (viola T.C.), cello, bass, piano. Score and parts. 78 pages. Published by Carl Fischer

Choir

SKU: CA.410505

Composed by Felix Bartholdy Mendelssohn. Edited by Lothar Mohn. Arranged by Alan Wilson, Felix Bartholdy Mendelssohn, Kay Johannsen, Klaus Rothaupt, and Paul Horn. Hymns by Martin Luther: Ausgaben mit mehreren Luther-Liedern; Choral collections. Chorbuch Mendelssohn. Chor & Orgel Ab 20 Ex. Choir Book. Carus Verlag #CV 04.105/05. Published by Carus Verlag (CA.410505).

ISBN 9790007093822.

The three oratorios, the chorale cantatas, the large psalm settings, Lobgesang and other Mendelssohn sacred works with orchestra are famous, last but not least, on account of the variety and beauty of their choral settings. In the 19th century it was already common practice to arrange suitable movements for choir and organ, and to perform them in concert. This new choral collection makes available a wide selection and variety of movements especially suited for sacred services. All of the choral movements are based on biblical texts (most of them from the Psalter), on chorale settings or liturgical texts - these offer a wide range of uses during the church yearand within the framework of the liturgy. Score available separately - see item CA.410500.

Chamber Music Bass Flute, Piano

SKU: PR.114418900

Composed by Daniel Dorff. Set of Score and Parts. 24+8 pages. Duration 14 minutes. Theodore Presser Company #114-41890. Published by Theodore Presser Company (PR.114418900).

ISBN 9781491129517. UPC: 680160668632.

A welcome addition to the bass flute repertoire, Dorff’s 14-minute sonata is designed as two pairs of slow-fast movements. While composed as a complete 4-movement sonata, either half may be performed alone as a 7-minute recital work. The movement titles are: I. Sprawling, burbling; II. Sparkling, glistening; III. Under Winter; and IV. Spring Spirits.
When Peter Sheridan commissioned me to write a piece for bass flute and piano, his only requests were a sonata-like multi-movement work, and some kind of reference to New York, where we both grew up. Just the thought of a bass flute, with its broad and mighty airstream, already reminded me of the mighty Hudson River: from the dense woods of upstate New York, through the beautiful landscapes of New Paltz and Poughkeepsie, down through the celebrated Manhattan waterway.As I daydreamed how to build a sonata inspired by the Hudson, I thought of its deep primal nature carved by the Ice Age, and the life within the river and on its shores long before humans arrived. I thought of how the river’s magnetism drew Native Americans who honored and built their lives around it. I thought of beautiful trees and wildlife, the annual cycles of ecosystems, and the natural symbiosis between the river itself, the life within, and the life on land spawned by the river’s resources.I wondered what if Thoreau had sat by the Hudson rather than by Walden Pond; I wondered what if Hesse had set Siddhartha in the Hudson Valley with this river as his metaphor for the flow of life and time.I wondered whether the sonata should flow from north to south, or have chronological references. I wondered if I should allude to the many poets and painters who have drawn inspiration from the mighty Hudson. Every thought led to the river’s essence, its own spirit and life — flowing through raw nature, from skinny trickles to mightiness spawning cities; supporting subtle life, and becoming a central commons for human societies.The subtitle Spirit of the Hudson brings it all together.* * *The sonata is built in 4 movements, with formal inspiration from the Baroque: A slow Mvt. 1 “Sprawling, burbling” leads directly to the rapid Mvt. 2 “Sparkling, glistening,” followed by another slow-fast pair: Mvt. 3 “Under Winter” which leads directly into Mvt. 4 “Spring Spirits.” In addition to performances of the complete sonata, either pair of movements may be performed on its own for a shorter concert segment.SONATA (SPIRIT OF THE HUDSON) was premiered at the International Low Flutes Festival in April 2018 by its commissioner, bass flutist Peter Sheridan, with Hyeeun Hahm as pianist.

Violin 2 (choir: SATB - 2.2.2.2. - 4.2.0.0. - timp - str)

SKU: BR.OB-14670-16

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Armin Raab. Stapled. Orchester-Bibliothek (Orchestral Library). The study score (Studien-Edition) is available at G. Henle Verlag. Classical period. Part. 4 pages. Duration 10'. Breitkopf and Haertel #OB 14670-16. Published by Breitkopf and Haertel (BR.OB-14670-16).

ISBN 9790004337936. 10 x 12.5 inches.

In his op. 112 Beethoven sets the two poems by Johann Wolfgang von Goethe Meeresstille (Calm Sea) and Gluckliche Fahrt (Prosperous Voyage). Several sketches reveal that Beethoven had already begun to take an interest in the poems by the end of 1814. The composer conducted the premiere at a benefit concert for the Viennese Citizens' Hospital Fund in 1815. As the publication of this work was long in coming, the dedicatee Goethe received a copy of the score only in May 1822. A few months later Beethoven inquired of him: [...] how lovely would it be to know, if I appropriately united my harmonies with yours. Also enlightenment on what is to be seen as truth, would be dearly appreciated, as I love the latter above all, and never shall be said: Veritas odium parit.The old but commendable Breitkopf material has now been definitively replaced by the new edition based on the Complete Beethoven-Edition, save for the tried and true piano reduction by Carl Reinecke, which boasts more than simply historical merits. Its existence is assured by the revised and simplified form in which it appears in the new piano reduction. It will no doubt long continue being a much appreciated aid at choral rehearsals. In the piano vocal score the articulation and dynamics were adapted to the music text of the Complete Edition.The sun recently began shining from a cloudless sky on Beethoven's Meeres Stille und Gluckliche Fahrt (Calm Sea and Prosperous Voyage) after the publication of the piano reduction and choral score which signalize the completion of the performance material based on the new Beethoven Complete Edition. (Singende Kirche).

Piano SKU: HU.HN717 Composed by Franz Liszt. Edited by Ernst-Gunter Heinemann. Piano Solo, Piano and Keyboard, Repertoire, Solos. Transcendental Studies. Classical, Romantic. Softcover Book. 132 pages. G. Henle #HN717. Published by G. Henle (HU.HN717). 12.2 x 9.3 x 0.4 inches. Liszts Transcendental Studies (Etudes d'execution transcendante) of 1852 are without doubt among the triumphs of virtuoso piano music, and their visionary language and poetic expression make them a milestone of the romantic age. This set of twelve etudes represents the results of the composers own revision of a collection already published in 1827 and 1839. Accordingly, the principal source for this edition was a printed copy of the earlier version with myriad changes in the composers hand. Each of these pieces, including the famous Harmonies du soir and Mazeppa, bears its own title and has entered the concert repertoire less as an etude than as a tone-poem with its own distinctive flavour. Edited by Ernst-Gunter Heinemann with fingerings by Franz Liszt and preface by Maria Eckhardt.

Composed by Ladislav Kubik. Arranged by John Tebay. Sheet music. Pavane Secular. Spiritual. Octavo. 12 pages. Pavane Publishing #P1617. Published by Pavane Publishing

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024688

Le Course en traineau, Introduction et valse melancolique, Feverie au bord de mer, Deux ames au ciel. Composed by Jacques Offenbach. Edited by Jean-Christophe Keck. Boosey & Hawkes Chamber Music. Classical. Softcover. 56 pages. Bote & Bock #M202535356. Published by Bote & Bock (HL.48024688).

ISBN 9781540058782. UPC: 888680952952.

Jacqu es Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysees' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants dapres Rameau / Tambourin dapres Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse melancolique / Reverie au bord de mer / Deux ames au ciel).

28-67 Singers

SKU: CA.910800

Composed by Manfred Langer. Choirs in Movement. German title: Einsingen Einzelexemplar. Choirs in movement. Full score. Carus Verlag #CV 09.108/00. Published by Carus Verlag (CA.910800).

ISBN 9790007068035. Language: German/English.

Thi s composition integrates choral warm-up exercises with situations and scenes which can occur during these warm-ups. 15 different characters and scenes, portrayed by the choir, ranging from conductor, to not in the mood, to coloratura singer, right up to naturally, already warmed up are portrayed, some as solos, some with small groups of singers. The succession of scenes unfolds gradually, in which some singers are equipped with properties and given certain typical actions toperform. This is a funny piece, especially suited for that somewhat different beginning of a concert.

Piano and Orchestra

SKU: BT.PWM4930

For piano and orchestra. Composed by Feliks Rybicki. Classical. Piano Reduction. Composed 2016. 114 pages. Polskie Wydawnictwo Muzyczne #PWM4930. Published by Polskie Wydawnictwo Muzyczne (BT.PWM4930).

The words 'for small hands' used in the title of the Concerto may suggest that it is an easy piece aimed at children. Weel, it is not as such. Its volume (duration 19 minutes) already creates a problem of a long concentration span and music tension. (...) Technically speaking, the work requires high manual agility, as well as imagination and virtuosity at times. (...) Once the performer of this concert has overcome the hardships of comprehending and mastering parts I and II, there awaits an award - part III: uncomplicated text, pure joy, life, temperament, wit, cheek. The piece ends with the krakowiak in fff dynamics! [Andrzej Jasi ski].

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
- Excellent print quality
- Superior paper and binding