(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

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

Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and François de Médicis. This edition: Edition of selected works, Urtext edition. Linen. Saint- Saens, Camille. OEuvres instrumentales completes III/4. Edition of selected works, Performance score, anthology. Baerenreiter Verlag #BA10304-01. Published by Baerenreiter Verlag

Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales

Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 great masterpieces from the baroque, classical, romantic and modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.

Arranged by Simon Lasky. Recorder. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: Intermediate.

Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by Hal Leonard

Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-3210-16

Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). EB 6043 is printed in score form; two copies are needed for performance. Have a look into study score PB 3654. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-16. Published by Breitkopf and Haertel (BR.OB-3210-16).

ISBN 9790004300701. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.

By John Ireland. For Violin and Piano. Strings. Published by Stainer & Bell Ltd. (U.K. Import).

The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales

Book with Online Audio. Composed by Various. Music Minus One. Baroque, Classical Period and Play Along. Softcover Audio Online. 32 pages. Music Minus One #MMO3726. Published by Music Minus One

Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str)

SKU: BR.OB-3210-15

Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str. Solo concerto; Romantic. Part. 8 pages. Duration 43'. Breitkopf and Haertel #OB 3210-15. Published by Breitkopf and Haertel (BR.OB-3210-15).

ISBN 9790004300695. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.

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.

By Robert Winn. For Flute. Method. AMA Verlag. All Styles. Level: Beginning-Intermediate. Book/CD Set. Size 9x12. 144 pages. Published by AMA Verlag. ISBN 3932587723.

Violin

SKU: HL.50038930

Score. Composed by Antonio Vivaldi. Edited by Gian Francesco Malipiero. String Solo. Score Only. Composed 1984. Ricordi #PR1015. Published by Ricordi (HL.50038930).

8.0x10.75x0.092 inches.

Arrangements of syllabus repertoire for lessons, practice and performance. Composed by Richard Mainwaring. Classical. Score and Parts. Trinity College London #TCL020345. Published by Trinity College London

(Wedding and Classical Favorites). Composed by Various. Arranged by Daniel Kelley. For Flute/Oboe/Violin and Cello/Bassoon. Duets. Music for Two series. A tremendous new collection for any occasion including the best of Beethoven, Handel, Mendelssohn, Mozart, Borodin, Vivaldi, Corelli and more! This versatile series is designed to be played by two different instruments!. Wedding, Classical. Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing

For Violin. Contains a high-quality music score featuring the solo violin part, printed on ivory paper; and a compact disc containing digitally remastered stereo accompaniments to each sonata. Published by Music Minus One.

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.

For piano. Piano Collections. Classic. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: Multiple Levels.

Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and François de Médicis. This edition: urtext edition. Stapled. Performance score. Opus 75. Baerenreiter Verlag #BA10957. Published by Baerenreiter Verlag