Violin, cello and piano

SKU: BO.B.3713

Composed by Joaquim Malats. Published by Editorial de Musica Boileau (BO.B.3713).

Without doubt, the most important chamber music work by Malats, and one of his finest compositions, is his Trio for Violin, Cello and Piano in B Flat Major. It was composed in 1898.

Malats dedicated the Trio to one of the greatest composers of all time, Camille Saint-Saëns, close personal friend of both Malats and Granados. An unknown gem of the chamber music repertoire, this Modernist work is superior in form, technique and musical content to similar work by Granados, Breton, Chapi and others.

Malats had considerable knowledge and experience with the trio form. In 1894 at the Sala erard in Paris he performed four trios by Beethoven, Mendelssohn, Godard and Saint-Saëns with C. Flesch and Hasselmann. Given his experiences with chamber music it is not surprising that Malats exhibited such confidence and security in writing his Trio maintaining perfect balance and dialogue between the three instruments which he achieved through masterful control of the formal structure. This work has a rich harmonic language and none of the Nationalist qualities of his previous pieces. Instead, it reveals Malats proximity to then current European music yet, at the same time, exhibits his personal style and musical knowledge.

Music from the Motion Picture Soundtrack E-Z Play Today Volume 149. Composed by Robert Lopez and Kristen Anderson-Lopez. E-Z Play Today. Children, Disney, Movies. Softcover. 40 pages. Published by Hal Leonard

Piano, Vocal and Guitar

SKU: BT.MV00004253

Composed by Eric Coates. Songbook . Music Vault #MV00004253. Published by Music Vault (BT.MV00004253).

With mp3 files. Composed by Leila Fletcher. Method. Book with Audio-Online. Hal Leonard Europe #LF001. Published by Hal Leonard Europe

Composed by Robert Lopez and Kristen Anderson-Lopez. Instrumental Play-Along. Children, Disney, Movies. Softcover Audio Online. 12 pages. Published by Hal Leonard

Instrumental Play-Along for Flute. Composed by Various. Instrumental Play-Along. Children, Disney, Movies. Softcover Audio Online. 24 pages. Published by Hal Leonard

SATB vocal soli, SATB choir, 2 flutes, 2 oboes, 2 horns, 2 violin, viola, basso continuo - Level 3

SKU: CA.3410411

Passions-Oratorium . Composed by Johann Christoph Friedrich Bach. Edited by Ulrich Leisinger. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 1. Sacred vocal music, Oratorios, Passions, Lent and Passiontide. Single Part, Violin 1. BR JCFB D 1. 36 pages. Duration 135 minutes. Carus Verlag #CV 34.104/11. Published by Carus Verlag (CA.3410411).

ISBN 9790007212575. Language: German.

An unknown work from the so-called Buckeburger Bach, which at first was ascribed unjustly to Carl Philipp Emanuel Bach. The story of the Suffering of the Lord is examined from a different perspective. Pilgrims have undertaken a journey to the Holy Land and when they arrive they are informed by a hermit of the suffering and death of Christ. An additional figure, an angel, lends this representation of the Passion a heightened form for communicating the importance of the suffering of Christ.. Score and part available separately - see item CA.3410400.

Concert Band - Grade 2

SKU: AP.39524

Arranged by Michael Story. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Folk; Halloween; Traditional. Score and Part(s). 124 pages. Duration 2:15. Belwin Music #00-39524. Published by Belwin Music (AP.39524).

UPC: 038081453019. English. Traditional Folk Song based on the poem by Edgar Allan Poe.

Scored in a lilting three-quarter meter, this delicious melody, by an unknown composer, was originally scored to accompany Edgar Allan Poe's poem of the same name. The story is of the narrator's deep love for a woman who lived by the sea, and whose untimely death is mourned every night by the narrator as he sleeps next to her tomb by the ocean. The beautiful melody, charismatically harmonized, musically depicts that undying love and provides a meaningful opportunity to teach expressive and lyrical performance. A charming addition to the developing band repertoire. (2:15) This title is available in MakeMusic Cloud.

(Twinkle, Twinkle, Little Star). By Wolfgang Amadeus Mozart (1756-1791). Arranged by Paul Carey. For SA Choir and Piano. Janet Galvan Roots and Wings Series. Concert. Octavo. Published by Roger Dean Publishing

A Life in Revue. By Cy Coleman, Betty Comden, Adolph Green. Piano/Vocal/Chords Vocal Selections (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 74 pages. Published by Hal Leonard.

Woodwind quintet

SKU: P2.10015

Composed by Reed A. Hanna. Chamber music, 20th century, Woodwind Quintet. Published by Potenza Music (P2.10015).

Composer Reed A. Hanna writes, Red Lights! is a coming-of-age story about a young man and his attempt to find himself. In each of the three movements, the listener follows the young man on his journey through the exotic world of the red light district, which may at first seem to have an allure of excitement and novelty, but might end up being a mysterious realm of plausible scandal and ill-repute. The young man, blinded by his voracious desire to experience the unknown, encounters many things in his journey that are 'eye-opening' (to say the least). This eye-opening impression is bestowed on him most notably through his encounter with 'Madame', a character who offers the more worldly perspective that is the object of the young man's desire - or so he thinks..

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

Trombone Quintet - Advanced

SKU: CY.CC3080

Composed by Traditional Christmas. Arranged by Russell McKinney. Classical. Score and Parts. Cherry Classics #CC3080. Published by Cherry Classics (CY.CC3080).

ISBN 9790530110577. 8.5 x 11 in inches.

Lo, How a Rose E'er Blooming is a German Christmas carol composed by an unknown author prior to the 17th century and is most often performed during the Advent season. First harmonized by Praetorius, the song has remained popular and has now been beautifully arranged for a moderately advanced 5-part Trombone Ensemble by Russell McKinney. Length of about 2 minutes.

(Choral Highlights). Composed by Robert Lopez and Kristen Anderson-Lopez. Arranged by Mac Huff. Disney Choral. Collection, Disney, Medley, Movies, Musicals, Show Choir, Winter. Octavo. 44 pages. Published by Hal Leonard

Revised and Edited by Robert Orledge. Composed by Erik Satie (1866-1925). Piano. Softcover. 240 pages. Editions Salabert #SLB5960. Published by Editions Salabert (HL.50600628).

4 Saxophones SATBar

SKU: AP.1-ADV7426

For SATBar Saxophone Quartet. Arranged by Bill Perconti. Quartet; Solo Small Ensembles; Woodwind - Saxophone Quartet. Advance Music: Holiday Celebration Series. Christmas; Sacred; Traditional; Winter. Score and Part(s). Advance Music #01-ADV7426. Published by Advance Music (AP.1-ADV7426).

ISBN 9783892215806. UPC: 805095074260. English. Traditional.

The Sleep of the Infant Jesus is a ballad carol that is also a lullaby. Traditionally French, the tune dates before 1800, but the composer is unknown. Although little known, the tune is a beautiful and serene Christmas folk melody.

This arrangement for saxophone quartet (SATBar), rather than favoring a soprano solo with accompaniment, strives to include all the players in the music making, particularly by distributing melodic material. In addition, all dynamics and articulations should be taken as suggestions only, as performers are encouraged to make their own interpretations. Arranged for saxophone quartet.

Soli SATB, SATB Choir, Ob (auch Obdc), 2 Vl, Va, Bc - Level 3

SKU: CA.3108069

Cantata for Reformation Day. First Leipzig version. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal; Hymns by Martin Luther: Ein feste Burg ist unser Gott. Ein Feste Burg (Erste Leipz. Fassung). Sacred vocal music, Cantatas, Reformation day. Set of Orchestra Parts. Composed 1728/31. BWV 80b. Duration 30 minutes. Carus Verlag #CV 31.080/69. Published by Carus Verlag (CA.3108069).

ISBN 9790007134129. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and parts available separately - see item CA.3108000.

Composed by Antonin Dvorak (1841-1904). Edited by Veronika Vejvodova. This edition: Urtext edition. Published by Baerenreiter Verlag

Alto, Mixed choir (SATB), Piano

SKU: BA.BA11309

Composed by Camille Saint-Saens. Edited by Christina M. Stahl. This edition: urtext edition. Paperback. Score. Baerenreiter Verlag #BA11309. Published by Baerenreiter Verlag (BA.BA11309).

ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.

It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.

It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.

In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.

Saint-Sa ëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.

The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.

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

Soli SATB, SATB Choir, Blfl, 3 Ob (Ob I auch Obda, Obca), Fg, 3 Tr, Timp, 2 Vl, Va, Bc

SKU: CA.3106969

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. Stuttgart Urtext Edition: Bach vocal. Complete orchestral parts. Sacred vocal music, Cantatas, Trinity. Set of Orchestra Parts. BWV BWV 69a. Duration 25 minutes. Carus Verlag #CV 31.069/69. Published by Carus Verlag (CA.3106969).

ISBN 9790007206734. Language: German/English.

Bac h's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score and parts available separately - see item CA.3106900.

Organ (solos: SATB - choir: SATB - 0.2.0.2. - 0.2.3.0. - timp - org - str(without va))

SKU: BR.OB-5329-11

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Franz Beyer. Stapled. Orchester-Bibliothek (Orchestral Library). Mass; Classical. Part. Composed 1780. 16 pages. Duration 20'. Breitkopf and Haertel #OB 5329-11. Published by Breitkopf and Haertel (BR.OB-5329-11).

ISBN 9790004333525. 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.

ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3113613

Cantata for the 8th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Trinity. Single Part, Viola. Composed 1723. BWV 136. 4 pages. Duration 22 minutes. Carus Verlag #CV 31.136/13. Published by Carus Verlag (CA.3113613).

ISBN 9790007208134. Text language: German/English.

The cantata Erforsche mich Gott und erfahre mein Herz BWV 136 was composed in Bach's first year as Kantor of St. Thomas's in Leipzig and was first performed on the 8th Sunday after Trinity, the 18th July 1723. The librettist is unknown. The title of the cantata is taken from verse 23 of Psalm 139: Erforsche mich Gott und erfahre mein Herz; prufe mich und erfahre, wie ich's meine. (Search me, O God, and know my heart: try me, and know my thoughts) The opening chorus forms an extended fugue, framed by string writing bursting with energy. The obbligato horn accentuates and enriches the movement with a special tonal color. The alto aria in F sharp minor (movement 3) comprises a trio movement with an oboe d'amore as solo instrument in a contrasting range - a presto middle section which dramatically charges the words Denn seines Eifers Grimm vernichtet (For the fury of its zeal will destroy). In the duet (movement 5) the text is sung by tenor and bass line by line, sometimes imitating contrapuntally, and sometimes both singing together dramatically in homophonic writing. A simple chorale setting to the melody Auf meinen lieben Gott concludes the cantata. Particularly charming here is the violin which joins the four vocal parts as an independent part. Score and part available separately - see item CA.3113600.

Frozen II. Music from the Motion Picture Soundtrack. Composed by Robert Lopez and Kristen Anderson-Lopez. Big Note Songbook. Children, Disney, Movies. Softcover. 56 pages. Published by Hal Leonard

Band - Grade 4

SKU: CF.CB142F

Composed by Henry Fillmore. Edited by Robert E. Foster. SWS. Authentic Fillmore Edition. Full score. With Standard notation. 24 pages. Duration 2 minutes, 22 seconds. Carl Fischer Music #CB142F. Published by Carl Fischer Music (CF.CB142F).

ISBN 9780825888588. UPC: 798408088583. 9x12 inches.

Editor Robert Foster has uncovered another forgotten Henry Fillmore march and restored it to its rightful place in band repertoire. This may be one of the best Fillmore marches we have heard that is for the most part still unknown. Written to stir patriotism during World War I, all of the wonderful Fillmore trademarks are present in this exceptional march. It is tuneful, exciting and well-scored; presented in a full score edition for the first time, exactly as Fillmore intended it to be.