Violin 2 (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.OB-5212-16

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Stapled. Orchester-Bibliothek (Orchestral Library).

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)

Solo concerto; Baroque. Part. 4 pages. Duration 18'. Breitkopf and Haertel #OB 5212-16. Published by Breitkopf and Haertel (BR.OB-5212-16).

ISBN 9790004330913. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

Violin 1 and 2 (solo: org - str - bc)

SKU: BR.OB-5252-16

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Solo concerto. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman). Solo concerto; Baroque. Part. 4 pages. Duration 12'. Breitkopf and Haertel #OB 5252-16. Published by Breitkopf and Haertel (BR.OB-5252-16).

ISBN 9790004334027. 0 x 0 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

Woodwinds (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.OB-5251-30

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Folder. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman). Solo concerto; Baroque. Set of parts. 8 pages. Duration 13'. Breitkopf and Haertel #OB 5251-30. Published by Breitkopf and Haertel (BR.OB-5251-30).

ISBN 9790004332986. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

Concert Band/Harmonie - Grade 6

SKU: BT.DHP-1002207-140

Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Score Only. Composed 2000. 96 pages. De Haske Publications #DHP 1002207-140. Published by De Haske Publications (BT.DHP-1002207-140).

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.ATTILA, King of the Huns, often named “The scourge of God,” is the central figure of the first movement, mainly characterized by fear, threat, aggression, and cruelty. Attila’s brother, Buda, however, has a more heroic theme, while his beloved wife, Rika, has a lyrical melody. The exciting ending of this opening movement illustrates the dreaded speed of Attila’s troops: they pursued their victims and killed them all!

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Classical. Edition with Online audio file. 40 pages. Schott Music #ED13824. Published by Schott Music

Concert Band/Harmonie/Fanfare Band - Grade 4

SKU: BT.DHP-1216332-215

Composed by Peter Kleine Schaars. Peter's Compact Collection. Original Light Music. Score Only. Composed 2021. 22 pages. De Haske Publications #DHP 1216332-215. Published by De Haske Publications (BT.DHP-1216332-215).

English-German-French- Dutch.

Funk is a very rhythmic music style that finds its origin in the 1960s. The American artist James Brown and the New Orleans-based group The Meters are considered the founders of this genre. Funk is characterized by an independentbass line that emphasizes each first beat of the bar (the one), as well as by a rhythmic combination of syncopated melodies and accompaniments with lots of harmonic additions. This style-conscious composition by Peter KleineSchaars contains a healthy blend of the harmonic ingredients as well as the rhythmic challenges of funk music. On the one hand, New Orleans Funk is an educational exercise with the rhythmic cells 9,10, 14, 15 and 16: on the otherhand, it is a funky highlight of your rehearsal or concert!

Funk is een sterk ritmische muziekstijl die in de jaren zestig van de vorige eeuw is ontstaan. De Amerikaanse muzikant James Brown en de uit New Orleans afkomstige groep The Meters worden beschouwd als de grondleggers van ditgenre. Naast een zelfstandige baslijn die elke eerste tel van de maat (the one) stevig benadrukt, wordt funk gekenmerkt door een ritmisch samenspel tussen syncopische melodieën en begeleidingen met veel harmonische toevoegingen.Deze stijlbewuste compositie van Peter Kleine Schaars bevat zowel de harmonische ingrediënten als de ritmische uitdagingen die erbij horen. Enerzijds is New Orleans Funk een pedagogische oefening met de ritmische cellen 9,10, 14,15 en 16, anderzijds is het werk een funky hoogtepunt van uw repetitie of concert!

Funk ist ein sehr rhythmischer Musikstil, der seinen Ursprung in den 1960er Jahren hatte. Der amerikanische Künstler James Brown und die aus New Orleans stammende Band The Meters gelten als die Begründer dieses Genres. Funkzeichnet sich durch eine unabhängige Basslinie aus, die jeden ersten Taktschlag (the one“) betont, sowie durch eine rhythmische Kombination von synkopierten Melodien und Begleitungen mit zahlreichen harmonischen Ergänzungen.Diese stilkonforme Komposition von Peter Kleine Schaars enthält eine gute Mischung aus harmonischen Zutaten sowie rhythmischen Herausforderungen der Funkmusik. Einerseits ist New Orleans Funk ein pädagogisches Übungsstück aus denRhythmus-Einheiten 9, 10, 14, 15 und 16, andererseits ist es auch ein funkiges Highlight für Proben oder Konzerte!

Né dans les années 1960, le funk est un style musical très rythmé. Le chanteur américain James Brown et un groupe de la Nouvelle-Orléans, The Meters, sont considérés comme les fondateurs de ce genre. Le funk se caractérise par uneligne de basse indépendante qui souligne le premier temps de la mesure, ainsi que par une combinaison rythmique de mélodies syncopées et d’accompagnements chargés d’adjonctions harmoniques. Adoptant pleinement ce style, lacomposition de Peter Kleine Shaars est l’heureuse fusion des ingrédients harmoniques, mais aussi des difficultés de la musique funk. D'une part, les cellules rythmiques 9, 10, 14, 15 et 16 font de New Orleans Funk un exercicepédagogique : d’autre part, cette pièce apportera une belle ambiance funky vos répétitions et vos concerts !

Violin 1 (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.OB-5251-15

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Stapled. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman). Solo concerto; Baroque. Part. 4 pages. Duration 13'. Breitkopf and Haertel #OB 5251-15. Published by Breitkopf and Haertel (BR.OB-5251-15).

ISBN 9790004332948. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

Woodwinds (solo: org - 0.2.0.1 - 0.0.0.0 - str - bc)

SKU: BR.OB-5215-30

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Folder. Orchester-Bibliothek (Orchestral Library).

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)

Solo concerto; Baroque. Set of parts. 8 pages. Duration 15'. Breitkopf and Haertel #OB 5215-30. Published by Breitkopf and Haertel (BR.OB-5215-30).

ISBN 9790004331217. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

Violin 1 (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.OB-5384-15

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Stapled. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. ' (Ton Koopman). Solo concerto; Baroque. Part. 4 pages. Duration 17'. Breitkopf and Haertel #OB 5384-15. Published by Breitkopf and Haertel (BR.OB-5384-15).

ISBN 9790004335505. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Classical. Softcover with CD. 40 pages. Schott Music #ED13834. Published by Schott Music

Critical Edition, P15a. Composed by Ottorino Respighi (1879-1936). Edited by Elia Andrea Corazza and Emy Bernecoli. String. Softcover. 8 pages. Schott Music #ED22769. Published by Schott Music

By Zdenek Gola. For violin. This edition: Volume 1. Stapled. Score. Text: Czech, German, English. 82 pages. Published by Baerenreiter Verlag

Cello/bass

SKU: BR.OB-5384-26

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Stapled. Orchester-Bibliothek (Orchestral Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. ' (Ton Koopman). Solo concerto; Baroque. Part. 4 pages. Duration 17'. Breitkopf and Haertel #OB 5384-26. Published by Breitkopf and Haertel (BR.OB-5384-26).

ISBN 9790004335536. 10 x 12.5 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

Orchestra

SKU: BR.SON-626

Luonnotar Faksimile. Composed by Jean Sibelius. Linen. Complete Works. Late-romantic; Early modern. Complete Works. 88 pages. Breitkopf and Haertel #SON 626. Published by Breitkopf and Haertel (BR.SON-626).

ISBN 9790004803288. 10 x 12.5 inches.

A main work by Sibelius as facsimile edition The large orchestral song Luonnotar is considered as one of the boldest works of Jean Sibelius. This alone would be reason enough to print the autograph sources (full score and piano reduction) as a color facsimile for the Sibelius Anniversary Year 2015. In addition, the autograph score also has a special significance for the transmission: it ensured the survival of the entire work after World War II; the source material for the printer compiled by Breitkopf & Hartel had been destroyed in an air-raid bombing in 1943. The meticulously elucidated volume is the first complete facsimile edition of an orchestral work by Jean Sibelius - a milestone in Sibelius editorial history that meaningfully supplements the complete edition Jean Sibelius Werke as a truly special volume.

Trombone and Piano - advanced

SKU: CY.CC2938

Composed by Giovanni Battista Pergolesi. Arranged by Ralph Sauer. Italian Baroque. Solo part and Piano accompaniment. 24 pages. Cherry Classics #2938. Published by Cherry Classics (CY.CC2938).

ISBN 9790530057575.

Orig inally written for Cello, Ralph Sauer's brilliant arrangement of the Pergolesi Sinfonia (Sonata) for Trombone and Piano (or Harpsichord) has become a standard work in the solo repertoire. This new edition which replaces the previous one comes with some notable changes. Below is Mr. Sauer's description.
This new edition of the Pergolesi Sinfonia in F is an update of the original version which was first published 40 years ago (!) and is now permanently out of print. Movements one, two, and three are essentially the same. I have corrected a few errors in the keyboard part and also revised some of the notation� �notably, grace notes are now placed correctly. (The original publisher insisted that they should be placed after barlines, causing confusion as to whether they were to be played on the beat or before the beat.)
In the last movement, there are now two places where the keyboard takes over the solo line. In addition to providing much needed rest for the trombonist, it gives a change of color and a chance for the keyboard player to be the soloist for a few measures.
The original version of the last movement is also included as an appendix for those who would rather perform the original.
Ralph Sauer
Los Angeles, 2017

Violin 1 (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.OB-5212-15

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Stapled. Orchester-Bibliothek (Orchestral Library).

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)

Solo concerto; Baroque. Part. 4 pages. Duration 18'. Breitkopf and Haertel #OB 5212-15. Published by Breitkopf and Haertel (BR.OB-5212-15).

ISBN 9790004330906. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

A Creative and Interactive Piano Course for Children. Composed by Hans-Guenter Heumann. This edition: Saddle stitching. Sheet music. Piano. Method. Softcover Audio Online. 48 pages. Schott Music #ED13813. Published by Schott Music

Organ and orchestra (solo: org - 0.2.0.1. - 0.0.0.0. - str - bc)

SKU: BR.PB-5251

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Orchestra; stapled. Partitur-Bibliothek (Score Library). I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman). Solo concerto; Baroque. Full score. 28 pages. Duration 13'. Breitkopf and Haertel #PB 5251. Published by Breitkopf and Haertel (BR.PB-5251).

ISBN 9790004210239. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman).

Organ and orchestra (solo: org - 0.2.0.2. - 0.0.0.0. - str - bc)

SKU: BR.PB-5214

Urtext. Composed by George Frideric Handel. Edited by Ton Koopman. Orchestra; stapled. Partitur-Bibliothek (Score Library).

,I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote.' (Ton Koopman)

Solo concerto; Baroque. Full score. 28 pages. Duration 20'. Breitkopf and Haertel #PB 5214. Published by Breitkopf and Haertel (BR.PB-5214).

ISBN 9790004209455. 9 x 12 inches.

Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions. I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik) Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.

Piano - intermediate

SKU: HL.50565843

For Piano Four Hands. By Edmond Lemaitre. By Claude Debussy. Editions Durand. Classical. Softcover. Composed 2016. Editions Durand #DD01632000. Published by Editions Durand (HL.50565843).

PNODT inches. English-French.

Thi s critical edition of the Petite Suite is an excerpt from the COMPLETE WORKS OF CLAUDE DEBUSSY, Series I, volume 9. The titles of the movements of the Petite Suite, 'Cortege' and 'Ballet', evoke the universe of both the Premiere Suite d'orchestreand Fetes galantes by Paul Verlaine ('Cortege' and 'En bateau'), several poems from which Debussy began to set as early as 1882.The contract that Debussy signed with the editors Durand, Schoenewerk & Cie for the Petite Suite is dated 8 December 1888. The work appeared at the beginning of the following year; the 'depot legal', (legal deposit) of the work, was accomplished on12 February 1889. It is difficult to believe that the Petite Suite, which became one of Durand's bestselling items during the composer's lifetime, was at first not appreciated by those who heard it.

Claude Debussy's Petite Suite for Piano 4-hands.

Cette edition critique de la Petite Suite constitue un tire a part des OEUVRES COMPLETES DE CLAUDE DEBUSSY, Serie I, volume 9. Les titres des mouvements de la Petite Suite, notamment << Cortege >> et << Ballet >>, evoquent aussi bien la Premiere Suited'orchestre que l'univers poetique des Fetes galantes de Paul Verlaine (<< Cortege >>, << En bateau >>) dont Debussy avait mis en musique plusieurs poemes des 1882. L'oeuvre fut cedee a l'editeur Durand, Schoenewerk & Cie le 8 decembre 1888. Elle parutau debut de l'annee suivante, le depot legal ayant ete effectue le 12 fevrier 1889. On a beaucoup de mal a imaginer que la PetiteSuite qui fut une des meilleures ventes de l'editeur Durand du vivant du compositeur fut d'abord boudee par les auditeursqui la decouvrirent.