Trumpet SKU: M7.AHW-501 The Early Years. Composed by Clifford Brow...(+)
Trumpet
SKU:
M7.AHW-501
The
Early Years. Composed
by Clifford Brown.
Arranged by Marc Lewis.
Sheet music. Performance
book. Charles Colin Corp.
#AHW 501. Published by
Charles Colin Corp.
(M7.AHW-501).
English.
Brown's
unique contribution to
the history of jazz and
jazz trumpet playing is
lovingly preserved in
these artfully executed,
meticulously edited
transcriptions. The
large, easy-to-read
format (chord symbols are
given) makes this ideal
for the performing
musician.
Voix Baryton, Piano [Partition + Accès audio] Hal Leonard
Baritone/Bass Book/Online Audio. Edited by Richard Walters and Richard Walter. V...(+)
Baritone/Bass Book/Online
Audio. Edited by Richard
Walters and Richard
Walter. Vocal Collection.
Piece for the NFMC Vocal
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Musical
Theatre, Broadway, Play
Along. Softcover Audio
Online. 272 pages.
Published by Hal Leonard
August/September 2016. By Meghan Trainor and Pentatonix. By John Jacobson,...(+)
August/September 2016. By
Meghan Trainor and
Pentatonix. By John
Jacobson, John Williams,
Mac
Huff, and Roger Emerson.
Arranged by Emily Crocker
and John Higgins. Music
Express. Softcover Media
Online. 58 pages.
Published
by Hal Leonard
August/September 2016. By Meghan Trainor and Pentatonix. By John Jacobson,...(+)
August/September 2016. By
Meghan Trainor and
Pentatonix. By John
Jacobson, John Williams,
Mac
Huff, and Roger Emerson.
Arranged by Emily Crocker
and John Higgins. Music
Express. Softcover Media
Online. Published by Hal
Leonard
For baritone/bass voice, piano, voice, piano and guitar chords. Format: piano/vo...(+)
For baritone/bass voice,
piano, voice, piano and
guitar chords. Format:
piano/vocal songbook.
With vocal melody, piano
accompaniment and lyrics.
Broadway. 269 pages. 9x12
inches. Published by Hal
Leonard.
In
September of 2018,
guitarist, Toby
McWilliams commissioned
Cruz to write a
three-movement guitar
solo after hearing his
Five Pieces in C on the
internationally
syndicated radio show,
Classical Guitar Alive.
McWilliams requested the
first movement to be in
sonata-allegro form
followed by two other
pieces that reflect the
tempo choices of a
typical three-movement
sonatina. As is the case
with most of Cruzâs
music, this Sonatina was
completed as music
written for musicâs
sake. However, in his
quest to find titles
other than tempo
markings, Cruz plucked
three words from the
correspondence between
himself and McWilliams
that together, add a
personal touch to the
collection while
suggesting a progression
of an imaginary
dayâs
events.
A point of
interest in the first
movement, A theme: Cruz
begins on the IV chord
and intentionally avoids
using a proper I chord
throughout. While the B
section does begin in the
dominant key, it moves
quickly towards a D major
tonal
center.
Festival
(3rd movement) uses a
bitonal opening theme: E
major in the top voice
while the bass line uses
E minor.
By Johann Adolf Hasse. For Soli SMs, 2 Violins, Viola, Basso continuo. Full scor...(+)
By Johann Adolf Hasse.
For Soli SMs, 2 Violins,
Viola, Basso continuo.
Full score available
separately - see item
CA.5070200. Oratorios;
Complete editions.
Piano/Vocal score.
Language: Italian.
Composed 1725. 80 pages.
Duration 90 min.
Published by Carus Verlag
(German import).
Voice and piano (solo: T - 2(picc.A-fl).2(ob.d'am[ad lib.].cor ang.muha).2(B-cla...(+)
Voice and piano (solo: T
-
2(picc.A-fl).2(ob.d'am[ad
lib.].cor
ang.muha).2(B-clar.S-sax.
muha).2(kfg.muha) -
1.1(corn [ad lib.]).1.0 -
timp.perc(3) -
acc(windmachine
I).hp(rainmaker.windmachi
ne
II).guit(rainmaker.windma
chine III) - str:
1.1.2.1.1)
SKU:
BR.EB-9394
A
Composed
Interpretation.
Composed by Hans Zender.
Voice; Softbound. Edition
Breitkopf. World
premiere: Frankfurt am
Main, September 21, 1993.
Song; Music post-1945.
Piano/Vocal Score.
Composed 1993. 120 pages.
Duration 85'. Breitkopf
and Haertel #EB 9394.
Published by Breitkopf
and Haertel (BR.EB-9394).
ISBN 9790004188682. 9
x 12 inches.
My
lecture of the
Winterreise does not
demand a new expressive
interpretation, but
instead systematically
exercises the freedom
which all interpreters
allow themselves
intuitively, such as:
instrumental dilation i.
e. acceleration of the
pace, transposition into
other keys and
elaboration of
characteristic color
timbres. In addition,
there are further ways of
reading; the music;
jumping around in the
text, repeating certain
lines, interrupting the
continuity, comparing
different expressions of
the same phrase ... All
these new possibilities
are subjected to my
compositional discipline
and form autonomous
formal processes which
are imposed on Schuberts
original. The
transformation of the
piano tones into a
multifaceted orchestra
full of resonance is only
one of many aspects.(Hans
Zender)CDs:Hans Peter
Blochwitz (Tenor),
Ensemble Modern,
Conductor: Hans Zender CD
BMG 9026-68067-2
Christoph Pregardien
(Tenor), Klangforum Wien,
Conductor: Sylvain
Cambreling CD Kairos
0012002KAIJulien
Pregardien (Tenor),
Deutsche Radio
Philharmonie
Kaiserslautern,
Conductor: Robert Reimer2
CD's P.RHEI
(2016)Bibliography:Adam-S
chmidmeier, Eva-Maria
von: Schubert
interpretieren. Hans
Zender: Schuberts
Winterreise. Eine
komponierte
Interpretation im
Unterricht, in: Musik und
Unterricht Heft 96
(2009), pp. 50-56.Gruhn,
Wilfried: Wider die
asthetische Routine. Hans
Zenders Version von
Schuberts Winterreise,
in: Neue Zeitschrift fur
Musik 1/1997.Hebling,
Harald: Kompositorische
Schubertrezeption im 20.
Jahrhundert,
Magisterarbeit
Universitat Wien 2003,
especially pp.
148-157.Nonnenmann,
Rainer: Vom Nutzen und
Nachteil der
Musikhistorie fur das
Musikleben. Zur Kritik
aktualisierender
Interpretation am
Beispiel von Hans Zenders
Schuberts ,Winterreise,
in: Musik und Asthetik 7,
Heft 26 (April 2003), pp.
65-90.ders.: Schuberts
,Winterreise .
Komponierte
Interpretation von Hans
Zender / Ballett von John
Neumeier, in:
Osterreichische
Musikzeitung 60 (2005),
Heft 3, p. 42f.ders.:
Fremd bin ich eingezogen,
fremd zieh ich wieder
aus. Versuch zur Rettung
der Vergangenheit
Schuberts Winterreise.
Eine komponierte
Interpretation fur Tenor
und kleines Orchester
(1993) von Hans Zender,
in ders.: Winterreisen.
Komponierte Wege von und
zu Franz Schuberts
Liederzyklus aus zwei
Jahrhunderten, 2 Bande (=
Taschenbucher zur
Musikwissenschaft, Band
150/151), Wilhelmshaven:
Florian Noetzel 2006, pp.
143-205.Petersen, Birger:
Neue Musik. Analysen,
Berlin: Simon Verlag fur
Bibliothekswissen 2013,
pp. 11-24.Revers, Peter:
... Schnee, du weisst von
meinem Sehnen. Aspekte
der Schubert-Rezeption in
Hans Zenders Winterreise
(1993), in: Dialekt ohne
Erde. Franz Schubert und
das 20. Jahrhundert,
hrsg. von Otto
Kolleritsch, Wien-Graz
1998 (Studien zur
Wertungsforschung, Band
34), pp.
98-120.Schafer-Lembeck,
Hans-Ulrich:
Gegenstrebige Fugungen.
Hans Zenders Musik und
seine komponierte
Interpretation von
Schuberts Winterreise,
in: Neue Musik
vermitteln. Analysen
Interpretationen -
Unterricht, hrsg. von
Hans Bassler, Ortwin
Nimczik und Peter W.
Schatt, Mainz: Schott,
2004, pp.
295-307.Stahmer, Klaus
Hinrich: Bearbeitung als
Interpretation - Zur
Schubertrezeption Gustav
Mahlers, Hans Zenders und
Friedhelm Dohls, in:
Franz Schubert und Gustav
Mahler in der Musik der
Gegenwart, Mainz
1998.Zender, Hans: warum
wieder die Winterreise?
Hartmut Regitz im
Gesprach mit dem
Komponisten, in:
ballet.tanz -
international.aktuell,
Heft 12 (2001), p.
18.
World
premiere: Frankfurt am
Main, September 21,
1993.
For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Large
Score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385L.
Published by Theodore
Presser Company
(PR.11640385L).
UPC:
680160682904. Key: G
major.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
For
Piccolo and
Orchestra. Composed
by Daniel Dorff. Full
score. 60 pages. Duration
6:30. Theodore Presser
Company #116-40385S.
Published by Theodore
Presser Company
(PR.11640385S).
UPC:
680160682898. Key: G
major.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
Op. 39. Composed
by Lowell Liebermann.
Study Score. 84 pages.
Duration 25 minutes.
Theodore Presser Company
#116-41142S. Published by
Theodore Presser Company
(PR.11641142S).
ISBN
9781491134030. UPC:
680160683772.
The
Concerto for Flute and
Orchestra, Op. 39 was
completed in September of
1992. It was commissioned
by James Galway, and is
dedicated to him. The
work is scored for an
orchestra comprised of
piccolo, flute, oboe,
english horn, clarinet,
bass clarinet, bassoon,
contrabassoon, two horns,
two trumpets, timpani,
percussion, harp, piano
and strings. The Concerto
is in three movements.
The first movement,
Moderato, is an arc-like
form, all of whose
components are in fact
variations on the
harmonic progression of
its principal theme. The
central section of this
movement is a set of
explicit chaconne
variations on a
chorale-version of this
progression. The second
movement, Adagio molto,
presents a lyrical melody
which is spun out over a
pulsating syncopated
ostinato which persists
through the entire length
of the movement. The
final movement, Presto,
is a virtuoso work-out
for the flutist in a
rondo-like form which
closes with a Prestissimo
coda. The Concerto for
Flute and Orchestra has
been recorded for release
on the BMG label by James
Galway with the London
Mozart Players conducted
by the composer. The
Concerto for Flute and
Orchestra, Op. 39 was
completed in September of
1992. It was commissioned
by James Galway, and is
dedicated to him.The work
is scored for an
orchestra comprised of
piccolo, flute, oboe,
english horn, clarinet,
bass clarinet, bassoon,
contrabassoon, two horns,
two trumpets, timpani,
percussion, harp, piano
and strings.The Concerto
is in three movements.
The first movement,
Moderato, is an arc-like
form, all of whose
components are in fact
variations on the
harmonic progression of
its principal theme. The
central section of this
movement is a set of
explicit chaconne
variations on a
chorale-version of this
progression.The second
movement, Adagio molto,
presents a lyrical melody
which is spun out over a
pulsating syncopated
ostinato which persists
through the entire length
of the movement.The final
movement, Presto, is a
virtuoso work-out for the
flutist in a rondo-like
form which closes with a
Prestissimo coda.The
Concerto for Flute and
Orchestra has been
recorded for release on
the BMG label by James
Galway with the London
Mozart Players conducted
by the composer.
In praise of singing Chorale SATB SATB, Orchestre [Octavo] MorningStar Music Publishers
Composed by Jonathan Willcocks. For soprano voice and baritone voice soloists, S...(+)
Composed by Jonathan
Willcocks. For soprano
voice and baritone voice
soloists, SATB choir and
orchestra. Octavo.
Scripture: Psalms of
David; Text Language:
English. Published by
MorningStar Music
Publishers
Choral TTBB choir, piano SKU: CF.CM9635 Composed by Victor Johnson. Fold....(+)
Choral TTBB choir, piano
SKU: CF.CM9635
Composed by Victor
Johnson. Fold.
Performance Score. 12
pages. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9635.
Published by Carl Fischer
Music (CF.CM9635).
ISBN 9781491157077.
UPC: 680160915637. 6.875
x 10.5 inches. Key: E
major. English, English.
Abram Joseph Ryan
(1838-1886).
Victor
Johnson captures the
mystery and nuance of the
bittersweet poem, Wake Me
a Song, by American poet,
Abram Joseph Ryan.
Nuance, text, and
Johnson's rich harmonies
paired with intertwining
textures make this a
noteworthy addition to
any program. Also
available for SATB Voices
(CM9561). About the
Author Abram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states. Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky. About the Song
Wake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment. To master
a performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections. One strategy
that could be used to
ensure proper phrasing is
the idea of Painting the
Phrase. The singer should
make a motion as if they
have a paintbrush in
their hand and paint the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept. About the
AuthorAbram Joseph Ryan
was born Matthew Abraham
Ryan on February 5, 1838
in Hagerstown, Maryland.
As a young man, Ryan and
his family moved west St.
Louis, Missouri, where he
was educated at the
Christian Brothers
School. He studied for
the priesthood at Niagra
University in New York
State and was ordained a
priest in the Vincentian
order on November 1,
1856. He taught theology,
first at Niagra
university and then at
the diocesan seminary in
Cape Girardeau, Missouri,
until the beginning of
the war between the
states.Father Ryan
enlisted in the army on
September 1, 1862, and
served as a chaplain
throughout the conflict,
carrying the wounded to
safety and performing
last rites on the
battlefield. His first
piece of poetry was
inspired by the death of
a younger brother while
serving in the army.
After the war, he
established a weekly
literary magazine in
which most of his poetry
was published. He also
put out several volumes
of poetry, including
Father Ryan's Poems and A
Crown for Our Queen.
Father Ryan died on April
22, 1886 at a Franciscan
monastery in Louisville,
Kentucky.About the
SongWake Me A Song is an
inspired and sensitive
setting of the
19th-century poem by
Abram Joseph Ryan. It
features sweeping melodic
lines, rich harmonies,
and a flowingly beautiful
accompaniment.To master a
performance of this
selection, singers must
perform very
expressively, paying
close attention to such
musical aspects as phrase
shaping, the rise and
fall of the melodic line,
blending and proper
intonation between
sections.One strategy
that could be used to
ensure proper phrasing is
the idea of
“Painting the
Phrase.†The singer
should make a motion as
if they have a paintbrush
in their hand and
“paint†the
melodic line and phrase
shape as if they are
painting with a nice,
flowing brush stroke. One
could think about
painting a rainbow or an
arch to show the rise and
fall of the line and/or
phrase. The director can
also show this gesture
while conducting to
reinforce this
concept.
Visions. Composed
by Jurg Baur. Softbound.
Partitur-Bibliothek
(Score Library). World
premiere Dusseldorf,
September 19,
1963 CD Radiosinf
onieorchester Stuttgart,
Ltg. Hans
Muller-Kray CD
Thorofon CTH 2270. Music
post-1945. Study Score.
Composed 1962/63. 68
pages. Duration 17'.
Breitkopf and Haertel #PB
3880-07. Published by
Breitkopf and Haertel
(BR.PB-3880-07).
ISBN
9790004202166. 6.5 x 9
inches.
World
premiere Dusseldorf,
September 19, 1963 CD:
Radiosinfonieorchester
Stuttgart, Ltg. Hans
Muller-Kray CD: Thorofon
CTH 2270
World
premiere Dusseldorf,
September 19, 1963CD
Radiosinfonieorchester
Stuttgart, Ltg. Hans
Muller-KrayCD Thorofon
CTH 2270.
Concert Band - Grade 1 SKU: AP.37781 Composed by John O'Reilly. Concert B...(+)
Concert Band - Grade 1
SKU: AP.37781
Composed by John
O'Reilly. Concert Band;
Performance Music
Ensemble; Single Titles.
Accent on Achievement.
Form: March. 4th of July;
Patriotic; Summer. Score
and Part(s). 118 pages.
Duration 1:30. Alfred
Music #00-37781.
Published by Alfred Music
(AP.37781).
UPC:
038081437309.
English.
Patriot
Day occurs on September
11 of each year in memory
of the 2,977 people who
died in the terrorist
attacks of September 11,
2001. This march, which
was actually written on
Patriot Day 2011, is the
perfect vehicle for
beginning band students
to express their
patriotism. Using only
the first seven notes
taught in most beginning
method books, rhythmic
interest is provided by
various combinations of
repeated-pitch eighth
note patterns.
(1:30).
Piano SKU: BR.EB-9254 Composed by Christian Mason. Solo instruments; stap...(+)
Piano
SKU:
BR.EB-9254
Composed
by Christian Mason. Solo
instruments; stapled.
Edition Breitkopf.
Repertoire piece for
the final round of the
61th International
Ferruccio Busoni Piano
Competition,Bolzano, August 22 -
September 1, 2017
New
music (post-2000). Score.
Composed 2006/09. 12
pages. Duration 7'.
Breitkopf and Haertel #EB
9254. Published by
Breitkopf and Haertel
(BR.EB-9254).
ISBN
9790004185544. 9 x 12
inches.
Repertoire
piece for the final round
of the 61th International
Ferruccio Busoni Piano
Competition, Bolzano,
August 22 - September 1,
2017.
(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Jeane...(+)
(Music, Movement and
More! The Music Magazine
for Grades K-6). Composed
by Jeanette Morgan. For
unison choir, Orff
Instrument. Games and CD.
Published by Heritage
Music Press
Organ and 1 melody inst. SKU: BR.EB-9208 Composed by Adriana Holszky. Sol...(+)
Organ and 1 melody inst.
SKU: BR.EB-9208
Composed by Adriana
Holszky. Solo
instruments; stapled.
Edition Breitkopf.
World premiere:
Stuttgart, September 7,
1990
Music post-1945;
New music (post-2000).
Performance score.
Composed 1985/90. 32
pages. Duration 28'.
Breitkopf and Haertel #EB
9208. Published by
Breitkopf and Haertel
(BR.EB-9208).