By Wolfgang Amade Mozart. Edited by Christopher Hogwood. For Three flutes. Full score and parts. Published by Edition HH Music Publishers (U.K. Import).

By Timothy Mahr. Concert Band. Bandworks. Level: Grade 4. Score and full set of parts. Published by Neil A. Kjos Music Company.

Composed by Anton Bruckner (1824-1896). For concert band. Concert Band Music. Full score and set of parts. Published by Phoebus Publications

Grade 5

SKU: CL.MHT-0072-00

2nd & 3rd Movements. Composed by Johannes Brahms. Arranged by Hindsley. Concert Band. Score and set of parts. C.L. Barnhouse #MHT-0072-00. Published by C.L. Barnhouse (CL.MHT-0072-00).

By Ludwig van Beethoven. Edited by Ron Cowherd. Concert Band. Level: Grade 2. Score and full set of parts. Published by Neil A. Kjos Music Company.

By Antonin Dvorak (1841-1904). Arranged by Larry Daehn. For concert band. Grade 3+. Score and set of parts. Duration 5 minutes, 39 seconds. Published by Daehn Publications

For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff. Wind quartet. For Clarinet I, Clarinet II, Clarinet III, Bass Clarinet. Score and parts. 4 pages. Duration 2:30. Published by Theodore Presser Company.

By Wolfgang Amadeus Mozart. Edited by Christoper Hogwood. For String quintet. Full score and parts. 129 pages. Duration 32'. Published by Edition HH Music Publishers (U.K. Import).

Score and Parts. By Carlos Chavez. Ensemble. 36 pages. Published by Carlanita Music.

Chamber Music Tuba, Piano

SKU: PR.114419630

Composed by Samuel Adler. Sws. Set of Score and Parts. 32+12 pages. Duration 21 minutes. Theodore Presser Company #114-41963. Published by Theodore Presser Company (PR.114419630).

UPC: 680160677153. 9 x 12 inches.

Premiered in October 2018 by the Toledo Symphony Orchestra, principal tubist David Saltzman as soloist, the Concerto features three movements with a cadenza between the second and third. Adler likens the solo passages in the first movement and cadenza to a singing cantor, an obvious homage to his own father's work in that role. Listen as Toledo Symphony Lab discusses the Concerto with Adler and tubist David Saltzman before the premiere. A perusal score is available at our Issuu library.

(2.2.2.2/2.2.3.0,timp,str )

SKU: TM.13973SET

Composed by Louis Spohr. Set Type: D. Set of parts. Published by Lucks Music Library (TM.13973SET).

Score is manuscript and difficult to read. Parts are typeset.

Violin 1 (solo: A - choir: boys ch - fem ch - 4(2picc).4(cor ang).5(2Eb-clar.B-clar).4 (dbn) - 8.4(posthn).4.1 - 2hp.2timp.perc(6) - str)

SKU: BR.OB-5633-15

Final Version 1906 - Textcritical Edition. Composed by Gustav Mahler. Edited by Christian Rudolf Riedel. Choir; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Late-romantic. Part. 40 pages. Duration 110'. Breitkopf and Haertel #OB 5633-15. Published by Breitkopf and Haertel (BR.OB-5633-15).

ISBN 9790004347904. 10.5 x 14 inches.

The first textcritical edition of Mahler's most extensive work is a further milestone in the project, Mahler - The Symphonies. The many sources first consulted here for an edition include, among others, the conducting scores used for early performances by Mahler, Mengelberg and other conductors, as well as the parts of the Vienna Philharmonic used by Mahler, Bruno Walter and many additional great conductors right up to the present. Furthermore, another set of parts from Mahler's personal possession was consulted. These sources, significantly expanding the source base in comparison with that of the 1974 Kritische Gesamtausgabe, guarantee a reliable, scholarly valid music text, shedding at the same time new light on Mahler's complex process of revision. In unprecedented comprehensiveness, the editorial report contains references from Mahler's letters and other authentic documents indispensable for an understanding of the work and its interpretation. The orchestral parts feature as usual optimal readability and practicality. Rounding off the edition is the introductory essay Mahler as Symphonist, together with the knowledgeable preface by Constantin Floros, doyen of Mahler research.

Arrangement for Chamber Music. By Haydn, Joseph;Salomon, Johann Peter. Edited by Hogwood, Christopher. For Flute, StrQu, Piano ad lib. Score; Set of Parts. Hob.I:94. Published by Baerenreiter-Ausgaben (German import). ISBN M006501908.

By Gennadi Chernov 3. For concert band. Recording available separately on TRNCD23. Level: Grade 6. Score and set of parts. Published by TRN Music Publisher.

By Gennadi Chernov. For concert band. Recording available separately on TRNCD23. Level: Grade 6. Score and set of parts. Published by TRN Music Publisher.

By Gennadi Chernov 2. For concert band. Recording available separately on TRNCD23. Level: Grade 6. Score and set of parts. Published by TRN Music Publisher.

( Prague ). Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Todd Parrish. Orchestra. Masterworks; Part(s); Score; String Orchestra. Highland String Orchestra. Form: Transcription. Classical; Masterwork Arrangement. Grade 4. 184 pages. Published by Highland/Etling

(2.0.0.0/4.0.0.0,str)

SKU: TM.09621SET

Composed by Wolfgang Amadeus Mozart. Edited by Fischer. Set Type: D. Set of parts. Published by Lucks Music Library (TM.09621SET).

Edited by Fischer. Score: Barenreiter; Set: Barenreiter Reprint.

(2.2.2.2/2.2.0.0,timp,str )

SKU: TM.01205SC

Composed by Wolfgang Amadeus Mozart. Score. Published by Lucks Music Library (TM.01205SC).

Set includes one of each wind (incl 1st & 2nd parts).

By Clare Grundman. (Score & Parts). Boosey and Hawkes Concert Band. Size 9x12 inches. Published by Boosey & Hawkes.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Q uartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.