SKU: HL.4007646

UPC: 196288074922.

This composition is based on the life of the German cavalry general Hans Michael Elias von Obentraut (1574-1625), who was known for his nerve, loyalty and courage. The figure Van Obentraut is closely connected to the town of Seelze, where he died a heroic death and where a monument was erected in his honor. The work consists of four movements in which various aspects of this historical figure are featured. What is extra special about this work is the fact that its firs movement (Hymn for a Hero) had been made available as an easy version for flexible band. This makes it possible for a youth of beginner band to play along with a band of adults or advanced players. This hymn can also be played as a separate piece.

SKU: HL.51481343

ISBN 9790201813431. UPC: 888680924911. 9.0x12.0x0.144 inches.

Chopin published his Scherzi nos. 1 3 at more-or-less regular intervals, in 1835, 1837 and 1840 almost as if he'd planned them in advance. He published his fourth and final work in this genre after a further three years, in 1843. When compared with its predecessors, which were largely bleak in mood, this Scherzo no. 4 is surprisingly cheerful. With its sparkling runs and its chains of chords like dappled brush strokes, this work seems to summon up the fairy-like spirit of Mendelssohn's scherzi. In editorial terms, however, it is problematical. Three parallel first editions were published in Germany, France and England and the many variants between them have to be investigated one at a time to determine their authenticity. This is a task that has been solved meticulously in this revised, stand-alone Urtext edition, which explains the transmission of this work in an exemplary, transparent manner for today's pianists.

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• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
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SKU: GI.G-10552

English. Text Source: Alas! and Did My Savior Bleed?, Isaac Watts, 1674-1748, alt., At the Cross, Ralph E. Hudson, 1843-1901, alt. Text by Isaac Watts.

“At the Cross” contains the very rich texts of Isaac Watts and Ralph Hudson. My desire is to treat each verse with utmost respect by highlighting—throu gh music—the suffering, shame, hope, beauty, and glory of the cross. The cross embodies all of these attributes. You will notice there is a somberness that begins at m. 84, mirroring the darkness that ensued while Christ hung on the cross (Mark 15:33). A “darker” sound from the altos is encouraged. This is the turning point in the song, preparing the singers for the response to such a sacrifice. Although the text speaks of grief and debt (starting at m. 93), one can see the hope that builds, with the realization that complete surrender is the only response to such a sacrifice. Much thought and energy (under control) should be expended to aid this verse in building to the climactic point of the song, when hope is found in the cross and the burden has been lifted.

SKU: HL.51482530

SKU: AP.43089S

UPC: 038081500362. English.

The hottest song of summer and it seems to be retaining the heat with no indication of cooling down. A perfect tool to teach counting and rhythm, this soul-infused tune features distinctive African rhythms and a unique world music twist. Let the students and audience embrace world culture at your next concert. (2:00).

SKU: CA.1255205

ISBN 9790007099190. Language: German.

Score available separately - see item CA.1255200.

SKU: BT.EMBZ2839

Sonata for Two Pianos was written in 1942 by Pál Járdányi at the young age of twenty-two years old when he had recently graduated from the Academy of Music. It is a quintessential showy concert piece which György Ligeti evaluated in 1949, when the sheet music was first released, as the 'worthy companion' of Bartók's and Hindemith's two-piano sonatas. The composition, originally written for string quartet, was reworked into an arrangement for keyboard instruments by Járdányi on Kodály's advice, preserving the musical language of the work which refers to Bartók in many places, and in which the features of Járdányi's later style can already be seen.