Cello solo

SKU: BR.EB-8817

Materialien fur die Unterstufe. Composed by Michael Dartsch and Susanne Richter. Solo instruments; Softbound. Edition Breitkopf.

This large volume is designed for the young beginner cellist, and is attractively presented with large print and enchanting colour illustrations. (Stringendo AUSTA)

Music pedagogy. Score. 124 pages. Breitkopf and Haertel #EB 8817. Published by Breitkopf and Haertel (BR.EB-8817).

ISBN 9790004183830. 9 x 12 inches.

The Cellokasten (Cello Case) offers a wealth of varied material for the beginner. Like the successful Geigenkasten, it can be used in teaching as a supplement to any cello method. And with its steadily increasing level of difficulty within each chapter, it can also serve as a kind of instruction method as well. The chapters are devoted to the following topics: - Games of posture and movement - Music on open strings and fundamentals of bowing technique - Playing with close stops and wide-stretch stops, high and low - Combination of close stop, wide-stretch stop and chromaticism - Playing, reading, notating rhythms; reading and notating tones as well as improvisation in the chapter Inventing Music . Along with lyrics for singing, there is almost always a second part, which lets two cello lovers make music together. The book offers songs and cello pieces for a variety of occasions and for every season. Interesting information about the instrument is also scattered throughout the book.

This large volume is designed for the young beginner cellist, and is attractively presented with large print and enchanting colour illustrations. (Stringendo AUSTA).

Double concerto (solo: db - 0.2.2.2.(bsn ad lib.) - 2.2.0.0 - timp(ad lib.) - hps - str(vl obl))

SKU: BR.PB-15114

With violino obbligato - Urtext. Composed by Franz Anton Hoffmeister. Edited by Tobias Glockler. Orchestra; stapled. Partitur-Bibliothek (Score Library).

In Cooperation with G. Henle Verlag

Solo concerto; Classical. Full score. 40 pages. Duration 18'. Breitkopf and Haertel #PB 15114. Published by Breitkopf and Haertel (BR.PB-15114).

ISBN 9790004212066. 10 x 12.5 inches.

Thanks to its imaginative richness and sterling writing, Hoffmeister's Double Bass Concerto No. 1 has advanced to the rank of a popular audition concerto. But when compared with the transmitted sources, the previously available first edition of 1966 proved to be filled with errors. Tobias Glockler, double-bass player of the Dresdner Philharmonie, now presents a reliable Urtext in this edition. Through his competence as an instrumentalist, he even goes considerably further and offers various performance possibilities: the solo part can be played not only in solo and orchestral tuning, but also in the historical Viennese tuning. The C-major version, which is offered on hire, allows performances in orchestral tuning. The orchestral material in D major (sales material) is suited to the other two tunings. A beautiful and easy to read score, elegantly laid-out and with illuminating and informative preface notes. This concerto is among our most beautiful classical concerti, lyrical and inventive. It is a great pleasure to see our classical repertoire appear in such critical editions. (Rob Nairn in Bass World).

Concert Band - Grade 2

SKU: AP.49551

By Gordon Jacob (1895-1984). Composed by Gordon Jacob (1895-1984). Arranged by Douglas E. Wagner. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Concert Band Classics; Masterwork Arrangement. Score and Part(s). Duration 2:33. Belwin Music #00-49551. Published by Belwin Music (AP.49551).

ISBN 9781470649104. UPC: 038081569888. English.

Of all of Gordon Jacob's major contributions to the British wind band repertoire, the William Byrd Suite (written in 1923) stands as his most-often programmed work. Though originally based on six movements from William Byrd's Fitzwilliam Virginal Book, this setting for developing band incorporates two contrasting movements including The Earle of Oxford's Marche and Wolsey's Wilde. Like Jacob's wind band work, the music is not a mere transcription from the original keyboard collection, but rather stylized with his own inventive musical spirit for modern concert band. A wealth of material here that opens doors to teachable moments as musical textures---dynamic contrasts, articulations, scoring options---are continually changing. Bravo! (2:33) This title is available in MakeMusic Cloud.

For Piano. Composed by Jacques Offenbach (1819- 1880). Edited by Jean- Christophe Keck. BH Piano. Softcover. 20 pages. Boosey & Hawkes #M202534731. Published by Boosey & Hawkes

Double Bass, Violin, Orchestra (solo: db - 0.2.2.2.(bsn ad lib.) - 2.2.0.0 - timp(ad lib.) - hps - str(vl obl))

SKU: BR.PB-15156-07

With violino obbligato - Urtext. Composed by Franz Anton Hoffmeister. Edited by Tobias Glockler. Stapled. Partitur-Bibliothek (Score Library).

In Cooperation with G. Henle Verlag

Solo concerto; Classical. Study Score. 40 pages. Duration 18'. Breitkopf and Haertel #PB 15156-07. Published by Breitkopf and Haertel (BR.PB-15156-07).

ISBN 9790004215616. 6.5 x 9 inches.

Thanks to its imaginative richness and sterling writing, Hoffmeister's Double Bass Concerto No. 1 has advanced to the rank of a popular audition concerto. But when compared with the transmitted sources, the previously available first edition of 1966 proved to be filled with errors. Tobias Glockler, double-bass player of the Dresdner Philharmonie, now presents a reliable Urtext in this edition. Through his competence as an instrumentalist, he even goes considerably further and offers various performance possibilities: the solo part can be played not only in solo and orchestral tuning, but also in the historical Viennese tuning. The C-major version, which is offered on hire, allows performances in orchestral tuning. The orchestral material in D major (sales material) is suited to the other two tunings. A beautiful and easy to read score, elegantly laid-out and with illuminating and informative preface notes. This concerto is among our most beautiful classical concerti, lyrical and inventive. It is a great pleasure to see our classical repertoire appear in such critical editions. (Rob Nairn in Bass World).

Chamber Music 2 Piano, 4 Hands

SKU: PR.140401200

For Two Pianos. Composed by Gerald Levinson. Premiered by DUO Stephanie & Saar, piano; Blue Sky Gallery, Portland, OR. Contemporary. Set of performance scores. With Standard notation. Composed 2015. 24+24 pages. Duration 8 minutes. Theodore Presser Company #140-40120. Published by Theodore Presser Company (PR.140401200).

UPC: 680160638710. 9 x 12 inches.

Composed in 2015, RINGING CHANGES is in part derived from the fourth movement of Levinson’s Time and the Bell... The essence of that movement is a constantly evolving perpetual-motion single line in fluidly changing rhythmic groupings, and in shifting modes inspired both by Balinese gamelan and North Indian ragas (both authentic and invented), which is now developed in counterpoint. Another version of the original movement also forms the centerpiece of the solo piano work, Ragamalika.

Composed by Camille Saint- Saens (1835-1921). Edited by Denis Herlin. This edition: First Edition; Urtext edition. Published by Baerenreiter Verlag

SATB Choir and Piano

SKU: HL.14018437

Composed by Luigi Cherubini. Music Sales America. Sacred. Part. Music Sales #NOV950631. Published by Music Sales (HL.14018437).

The Requiem Mass in C Minor, Cherubini's first, was commissioned for the anniversary of the execution of Louis XVI by the restored French monarchy. The Requiem was highly admired by the public and critics as well as by Mendelssohn, Berlioz and Beethoven. Cherubini sets a solemn tone right from the beginning by using the lower Strings and winds only to accompany the Voices and continues to display his inventiveness with great effectiveness throughout the work. The thunder and lightning of the Dies Irae, the prayerful pianissimo sections of the Agnus Dei accompanied by ostinato, the complete lack of soloists are all remarkable elements of this historically importantwork.Luigi Cherubini was a composer, conductor, teacher, administrator and music publisher who, though born in Italy, dominated the musical world of Paris for nearly five decades. His composing life can be divided very roughly into to phases: the operatic phase during the French Revolutionary period and the equally successful religious music phase at the beginning of the Restoration afterwards. His directorship of the Paris Conservatoire strengthened its position at the peak of musical education on the Continent.

Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017A. Published by Musik Fabrik

Unison voices (assembly and choir), and organ, with optional descant and brass quartet (Instrumental Parts include: Trumpets I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombones I and II) - Early Intermediate

SKU: MN.80-407

Composed by Matthew Koraus. Easter, Christ the King, 21st Century. MorningStar Music Publishers #80-407. Published by MorningStar Music Publishers (MN.80-407).

UPC: 688670804076. English.

Matthew Koraus has crafted a sturdy and very singable set of acclamations for the Eucharistic Prayer based on the hymn tune Diademata, ideal for the long season of Easter as well as Christ the King and other festive times. His adaptation of Elvey's hymn tune includes unexpected touches such as passing tones, rhythmic variations, and inventive harmonies, enabling the acclamations to remain fresh over time. Holy, Holy, Holy, all 3 Memorial Acclamations, and Amen are arranged for Assembly, Choir (in unison or with Descant), and Organ, with optional Two Trumpets or Brass Quartet.

For Trombone. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF109. Published by Carl Fischer Music

For Trumpet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). Arranged by Larry Clark. SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF107. Published by Carl Fischer Music

For Horn in F. Composed by O. Blume, Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). Arranged by Larry Clark. SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF108. Published by Carl Fischer Music

For Clarinet in Bb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). Arranged by Larry Clark. SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF105. Published by Carl Fischer Music

For Alto Saxophine in Eb. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF106. Published by Carl Fischer Music

For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1756-1791), Larry Clark, Jacques Fereol Mazas (1782-1849), Giuseppe Gariboldi, and Ernesto Kohler (1849-1907). Arranged by Larry Clark. SWS. Back To School. Softcover. With Standard notation. Carl Fischer Music #WF104. Published by Carl Fischer Music