This deluxe hard-cover book provides 130 scores of every song on the Pearl Jam albums Ten through Lightning Bolt. Over 800 pages of music contain lyrics and streamlined transcriptions of every instrument that was recorded for an amazing written documentation of this influential band. Guitar and bass parts are written in both standard notation and tablature. / Guitare, Basse, Chant, Batterie

Opera seria in two acts - Urtext Edition - Couverture Rigide. Par MOZART WOLFGANG AMADEUS. Due to numerous customer requests, Bärenreiter will be successively offering vocal scores to major Mozart operas in hardback editions again. This means you now have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. The vocal score to Mozart’s „La clemenza di Tito“ is available in this hardcover edition as well as in a soft-cover edition (BA 4554-90). This means that you have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician’s life. Mozart’s last two operas, „The Magic Flute“ and „La clemenza di Tito“, are not only remarkable for their outstanding quality but also for the astonishingly short period of time Mozart needed to write them: From the first sketches and drafts to the completed scores Mozart put on paper approximately 800 pages of music between April and September of 1791, a six month period./ Répertoire / Chant et Piano

Edition no.: BVK 2270ISBN: 9783761822708Volume / Series: Documenta musicologica II/45 / Bärenreiter FacsimileEditor: Konrad, UlrichLanguage(s) of work: English, GermanProduct format: FacsimileBinding: Half-leather bindingPages / Format: 405 S. - 41,7 x 30,0 cm 'This Tristan will be something formidable! This last act!''I fear the opera will be banned ' if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.'Richard WagnerWhile working on the score to 'Tristan und Isolde', Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the 'dawn' of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting.He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner's highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness.In time for the 200th anniversary of Wagner's birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches.Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Edition no.: BA 9074-90 ISMN: 9790006530243 Editor: Cooper, John Michael Arranger: Mendelssohn Bartholdy, Felix Language(s) of work: German, English Language(s) of text: German, English Product format: Piano reduction, Urtext edition Binding: Stapled Pages / Format: IX, 57 S. - 27,0 x 19,0 cm The setting of Psalm no. 42 op. 42 'Wie der Hirsch schreit nach frischem Wasser' ('As the hart pants after the waterbrooks') for soloists, mixed choir and full orchestra dates back to 1837. The well-known Mendelssohn specialist John Michael Cooper has evaluated the first printed edition of the score prepared by the composer himself as well as taking all other important sources into account. This Urtext edition is rounded off by a detailed critical commentary (Ger/Eng). The piano reduction is by Mendelssohn and is an authentic part of this edition. ' Psalm with a large orchestral scoring in a Urtext edition ' Bilingual foreword (Ger/Eng) ' Original German as well as English text ' Includes a piano reduction by the composer

Edition no.: BA 11202ISMN: 9790006526444Volume / Series: organ plus brass, Volume IIEditor: Klomp, Carsten / Petersen, HeikoLanguage(s) of work: GermanLanguage(s) of text: German, EnglishProduct format: Performance score(s), Wind instruments score, AnthologyIncludes the following individual parts: Organ, Wind instrumentsBinding: StapledPages / Format: 17/10 S. - 30,0 x 23,0 cmThe series ?organ plus brass? presents original works and arrangements for organ and brass ensemble. The wind parts are written to meet the needs of amateur ensembles and the organ parts are ideal for non-professional church musicians playing on smaller organs.The full score comes with an inserted wind score in C, which is also available separately. Wind parts in C and B-flat can also be purchased, enabling the performance by brass ensembles of varying instrumentation.Volume II comprises five chorale preludes from the 19th century. The chorales on which they are based are well known internationally and can be used throughout the church year.- Literature for brass ensemble and organ- Suitable for amateur brass ensembles and non-professional organists- Transposed parts allow for flexible instrumentationContentsChristian Fink (1831?1911): ?Wie schön leuchtet der Morgenstern?Emil Dercks (1849?1911): ?Jesus lebt, mit ihm auch ich?Theophil Forchhammer (1847?1923): ?Sollt ich meinem Gott nicht singen?Max Gulbins (1862?1932): ?Nun danket alle Gott?Otto Scherzer (1821?1886): ?Christus, der ist mein Leben?