By Ludwig van Beethoven. Edited by Willard A. Palmer. For Piano. Piano Collectio...(+)
By Ludwig van Beethoven.
Edited by Willard A.
Palmer. For Piano. Piano
Collection. Alfred
Masterwork Edition.
Masterwork. Level: Late
Intermediate / Early
Advanced (grade 6/6 ).
Book. 64 pages. Published
by Alfred Publishing.
By Orlando Gibbons (1583-1625). For Treble Recorder. Book; Masterworks; Recorder...(+)
By Orlando Gibbons
(1583-1625). For Treble
Recorder. Book;
Masterworks; Recorder -
Treble Duet. Faber
Edition. Masterwork;
Renaissance. Published by
Faber Music
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
Guitare Guitare classique [CD Sheet Music] Subito Music
CD Sheet Music (Version 2.0) titles allow you to own a music library that rivals...(+)
CD Sheet Music (Version
2.0) titles allow you to
own a music library that
rivals the great
collections of the world!
Version 2.0 improves upon
the earlier edition in a
number of important ways,
including an invaluable
searchable table of
contents, biographical
excerpts, and faster
loading. CD Sheet Music
(Version 2.0) titles work
on PC and Mac systems.
Each page of music is
viewable and printable
using Adobe Acrobat. 1600
pages. Published by
Subito Music.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Organ. Composed
1725. BWV 127. 12 pages.
Duration 21 minutes.
Carus Verlag #CV
31.127/49. Published by
Carus Verlag
(CA.3112749).
ISBN
9790007048907. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. 1x 31.127/21
recorder 1, 1x 31.127/22
recorder 2, 1x 31.127/23
oboe 1, 1x 31.127/24 oboe
2, 1x 31.127/31 trumpet.
Stuttgart Urtext Edition:
Bach vocal. German title:
Herr Jesu Christ 5.
Sacred vocal music,
Cantatas, Special days,
Lent and Passiontide,
Holy Week, Mourning,
death. Set of Orchestra
Parts. Composed 1725. BWV
127. 30 pages. Duration
21 minutes. Carus Verlag
#CV 31.127/09. Published
by Carus Verlag
(CA.3112709).
ISBN
9790007048853. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and parts
available separately -
see item CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Violin 2. Composed
1725. BWV 127. 8 pages.
Duration 21 minutes.
Carus Verlag #CV
31.127/12. Published by
Carus Verlag
(CA.3112712).
ISBN
9790007048877. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Choral
Score. Composed 1725. BWV
127. 8 pages. Duration 21
minutes. Carus Verlag #CV
31.127/05. Published by
Carus Verlag
(CA.3112705).
ISBN
9790007048846. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score available
separately - see item
CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Viola. Composed
1725. BWV 127. 8 pages.
Duration 21 minutes.
Carus Verlag #CV
31.127/13. Published by
Carus Verlag
(CA.3112713).
ISBN
9790007048884. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Violin 1. Composed
1725. BWV 127. 8 pages.
Duration 21 minutes.
Carus Verlag #CV
31.127/11. Published by
Carus Verlag
(CA.3112711).
ISBN
9790007048860. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Orchestra Soli STB, Coro SATB, 2 Blfl f1, 2 Ob, Tr, 2 Vl, Va, Bc - Level 3 SK...(+)
Orchestra Soli STB, Coro
SATB, 2 Blfl f1, 2 Ob,
Tr, 2 Vl, Va, Bc - Level
3
SKU: CA.3112707
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Study
score. Composed 1725. BWV
127. 44 pages. Duration
21 minutes. Carus Verlag
#CV 31.127/07. Published
by Carus Verlag
(CA.3112707).
ISBN
9790007245177. Key: F
major. Language:
German/English. Text:
Eber, Paul.
Cantata
BWV 127 belongs to the
cycle of chorale cantatas
which Bach performed in
1724/25 in Leipzig. It
bears close links to the
St John Passion, which
was performed on Good
Friday 1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score available
separately - see item
CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ, wahr' Mensch
und Gott. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Set of
Orchestra Parts. Composed
1725. BWV 127. Duration
21 minutes. Carus Verlag
#CV 31.127/19. Published
by Carus Verlag
(CA.3112719).
ISBN
9790007136703. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and parts
available separately -
see item CA.3112700.
Cantata for the Sunday
of Estomihi. Composed
by Johann Sebastian Bach.
Edited by Hans Grischkat,
Felix Loy. Stuttgart
Urtext Edition: Bach
vocal. German title: Herr
Jesu Christ. Sacred vocal
music, Cantatas, Special
days, Lent and
Passiontide, Holy Week,
Mourning, death. Single
Part, Cello/Double Bass.
Composed 1725. BWV 127. 8
pages. Duration 21
minutes. Carus Verlag #CV
31.127/14. Published by
Carus Verlag
(CA.3112714).
ISBN
9790007048891. Key: F
major. Language:
German/English. Text:
Eber, Paul. Text: Paul
Eber.
Cantata BWV
127 belongs to the cycle
of chorale cantatas which
Bach performed in 1724/25
in Leipzig. It bears
close links to the St
John Passion, which was
performed on Good Friday
1725 in its second
version. In formal terms
and in the interpretation
of the text and its
orchestration, it is one
of the most astonishing
vocal works by Bach. The
opening chorus, with its
multi-layered
construction, is nothing
less than a preliminary
version for the chorale
fantasia O Mensch bewein
dein Sunde gross. The
aria Die Seele ruht in
Jesu Handen is
distinguished by its
exquisite scoring: a solo
oboe and the soprano form
a duet, whilst the
background comprises
delicate chords on
recorders and continuo,
intended to symbolize
funeral bells. A solo
trumpet gives the
following movement
particular brilliance.
The words Ich breche mit
starker und helfender
Hand unmistakably
anticipate the chorus
Sind Blitze, sind Donner
in Wolken verschwunden
from the St Matthew
Passion. New revised
edition. Score and part
available separately -
see item CA.3112700.
Fantasia on the Rondo
from the Piano Sonata in
A major K. 331 by.
Composed by Fazil Say.
Edited by Selin
Sekeranber and Yudum
Centiner. Piano Duet.
Classical. Softcover. 16
pages. Duration 90
seconds. Schott Music
#ED23613. Published by
Schott Music
(HL.49047113).
ISBN
9781705189269. UPC:
842819117520. 0.096
inches.
The final
movement of the Sonata in
A major K. 331 by
Wolfgang Amadeus Mozart,
the Rondo Alla Turca, is
one of the most famous
pianopieces of all. Once
reserved for all music
connoisseurs, later
played by every piano
student, its opening
melody, alienated like a
sine tone, is now
omnipresent even as a
mobile phone ringtone.
The arrangement by Fazil
Say, created as an
effective encore, builds
on this popularity.
Mounted on the still
recognizable classic
basic level, typical jazz
elements such as
syncopation of the top
tones and embellishment
with chromatic blue
notes, embedded in
sometimes frenzied chains
of sixteenth notes, are
found - after the first
eight bars have been
presented originally. In
accordance with the
improvisational
character, Say himself
likes to perform his Alla
Turca Jazz in other
combinations, for example
with the accompaniment of
jazz singers or with an
orchestra. Perhaps it is
surprising that Fazil
Say, who was born in
Turkey and lives there
when not on tour, does
not trace Mozart's
adaptation of genuinely
Turkish music closer to
its origins, since many
of his compositions such
as Black Earth or the
Violin Sonata are
characterized by a subtle
touch Combination of
classic-romantic
tradition, Turkish folk
music and jazz elements.
In another Mozart
arrangement, the ballet
music Patara, which
premiered in Vienna in
2006, but now composed on
the rococo-esque (and
almost equally popular)
theme from the first
movement of the same A
major sonata, Say still
has the connection denied
to the Alla Turca, albeit
inthe opposite direction.
In distinctive chamber
music instrumentation,
the piano stands for
Western culture, the ney
flute for that of the
Orient, atmospherically
conveyed by sparse
percussion and vocalises
by a soprano.
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.