Harp

SKU: FG.55011-912-3

Composed by Tauno Marttinen. Classical, contemporary. Score. Fennica Gehrman #55011-912-3. Published by Fennica Gehrman (FG.55011-912-3).

ISBN 9790550119123.

Luon nonjumala (God of Nature) is Tauno Marttinen’s adaption for harp of his piano suite Taara op. 34. The manuscript for harp was found in January 2024 by Rauno Marttinen, composer’s son.

Duration: c. 15’
Movements:
1. Virran ääniä | The Voices of the Stream
2. Luonnonjumalan lähde | The Spring of God of Nature
3. Metsässä tuulee |The Wind Blows through the Forest

Tauno Marttinen (1912–2008) studied in Viipuri and later in Helsinki at the Helsinki Conservatoire. His piano teachers were Ilmari Hannikainen and Selim Palmgren, but he soon became increasingly interested in composing. Marttinen was also the conductor of the Hämeenlinna City Orchestra in 1949−1958 and the founder and principal of the Hämeenlinna Music Institute.

Marttin en started his composing career in late Romantic vein. However, his first concerts in the 1940s met with criticism since the winds of Modernism had already landed in Finland. He then became interested in Dodecaphony and studied under Vladimir Vogel in Ascona but later abandoned strict dodecaphony and found his own, personal style incorporating elements from Neo-classicism and free-tonality with a hint of mysticism – he was called the Shaman of Hämeenlinna (his hometown).

Tauno Marttinen was an incredibly productive composer; he wrote around four hundred works with opus numbers as well as a wealth of other pieces. His oeuvre includes 10 symphonies, concertos for various solo instruments, operas as well as vocal, chamber and instrumental works. Many of Marttinen’s pieces have become popular standard repertoire, such as the piano piece Kimalluksia (Gleams).

Concert Band/Harmonie - Grade 1

SKU: BT.AMP-037-010

Composed by Philip Sparke. Debut Series (Anglo). Concert Piece. Set (Score & Parts). Composed 2003. Anglo Music Press #AMP 037-010. Published by Anglo Music Press (BT.AMP-037-010).

The sarabande originated in the early 17th century and is a stately dance in triple time. It was popular in France and Spain but as a dance it quickly spread throughout the courts of Europe and the style was soon adopted into instrumental music in dance suites for solo instruments as well as orchestra. Something of this style has influenced Simple Sarabande and although its harmonic language is perhaps more up-to-date it could be seen as a ‘period piece’.

Simple Sarabande ist im Stil der ursprünglichen Sarabande, einem würdevollen höfischen Tanz aus dem 17. Jahrhundert im 3/4-Takt, geschrieben, wenn auch Philip Sparke für seine Komposition einen etwas moderneren harmonischen Ausdruck wählte. Einfachheit und leichte fließende Bewegungen sind die Schlüsselworte in diesem Stück, in dem Ihr Blasorchester sich ganz auf die Schönheit von Ton und Phrasierung konzentrieren kann.

La sarabande est une danse au caractère digne, sur un rythme ternaire lent, dont l’origine remonte la première moitié du XVIIe siècle. Très appréciée en France et en Espagne, elle conquiert rapidement l’ensemble des cours européennes. La sarabande s’intègre alors dans la musique instrumentale et devient un mouvement fondamental de la suite de danses. On retrouve quelques éléments stylistiques de cette danse dans Simple Sarabande. La structure harmonique reste néanmoins plus moderne.

Concert Band/Harmonie - Grade 1

SKU: BT.AMP-037-140

Composed by Philip Sparke. Debut Series (Anglo). Concert Piece. Score Only. Composed 2003. 20 pages. Anglo Music Press #AMP 037-140. Published by Anglo Music Press (BT.AMP-037-140).

The sarabande originated in the early 17th century and is a stately dance in triple time. It was popular in France and Spain but as a dance it quickly spread throughout the courts of Europe and the style was soon adopted into instrumental music in dance suites for solo instruments as well as orchestra. Something of this style has influenced Simple Sarabande and although its harmonic language is perhaps more up-to-date it could be seen as a ‘period piece’.

Simple Sarabande ist im Stil der ursprünglichen Sarabande, einem würdevollen höfischen Tanz aus dem 17. Jahrhundert im 3/4-Takt, geschrieben, wenn auch Philip Sparke für seine Komposition einen etwas moderneren harmonischen Ausdruck wählte. Einfachheit und leichte fließende Bewegungen sind die Schlüsselworte in diesem Stück, in dem Ihr Blasorchester sich ganz auf die Schönheit von Ton und Phrasierung konzentrieren kann.

La sarabande est une danse au caractère digne, sur un rythme ternaire lent, dont l’origine remonte la première moitié du XVIIe siècle. Très appréciée en France et en Espagne, elle conquiert rapidement l’ensemble des cours européennes. La sarabande s’intègre alors dans la musique instrumentale et devient un mouvement fondamental de la suite de danses. On retrouve quelques éléments stylistiques de cette danse dans Simple Sarabande. La structure harmonique reste néanmoins plus moderne.

By Franz Joseph Haydn (1732-1809). Edited by Sonja Gerlach; Makoto Ohmiya; Stefan Zorzor; Reinhold Friedrich. For Trumpet Solo, Piano. Piano Reduction/Vocal Score. Hob.VIIe:1

Guitar solo - Advanced

SKU: DZ.DZ-4308

Composed by Giorgio Mirto. Score. Les Productions d'OZ #DZ 4308. Published by Les Productions d'OZ (DZ.DZ-4308).

ISBN 9782898522253.

Foll owing a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.

FRANCE SCO BIRAGHI

Au lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprèt e et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.

FRANCESCO BIRAGHI.

(from Essercizii musici). By Georg Philipp Telemann (1681-1767). Edited by Klaus Hofmann. For oboe solo and basso continuo. This edition: Urtext. Score and part. TWV 41:B6, TWV 41:e6. Published by Baerenreiter Verlag

SATB choir, 2 clarino/trumpet, timpani, 2 violin, basso continuo, organ

SKU: CA.5039819

Graduale pro omne tempore. Composed by Franz Joseph Haydn. Edited by Armin Kircher. German title: Eja gentes. Sacred vocal music, Motets. Set of Orchestra Parts. Hob. XXIIIa C15. Duration 3 minutes. Carus Verlag #CV 50.398/19. Published by Carus Verlag (CA.5039819).

ISBN 9790007133603. Key: C major. Language: Latin.

The Graduale pro omne tempore Eja gentes was discovered in a contemporary manuscript copy at the Lower Austrian pilgrimage basilica Sonntagberg. Joseph Haydn is named as the composer of this festive motet, very suitable for combination with classical Mass settings at services and concerts. The use of the organ as a solo instrument gives the work a particularly attractive character. Score and parts available separately - see item CA.5039800.

Alto Saxophone and piano - Intermediate-Advanced

SKU: YM.GTW01091429

Woodwinds. Japanese Traditional Songs. Score & part with CD. Yamaha Music Media #GTW01091429. Published by Yamaha Music Media (YM.GTW01091429).

ISBN 9784636914290.

25 songs arranged for solo saxophone and piano. Saxophone part with a book for piano accompaniment and Karaoke CD.
25Shou Zhong Yin Sa Ke Si Guan Du Zou Qu ,Gang Qin Ban Zou . Han Sa Ke Si Guan Pu Ji Gang Qin Ban Zou Pu &Ban Zou CD.

1. Soshunfu(Ode to Early Spring); 2. Haru no Umi(Sea in Spring); 3. Hana; 4. Sakura Sakura; 5. Oborozukiyo(A Night with a Hazy Moon); 6. Amefuri Otsukisan(Moon in the Rain); 7. Kono Michi; 8. Hamabe no Uta(A Song at the Seaside); 9. Yashi no Mi; 10. Natsu no Omoide(A Memory from Summer); 11. Nanatsu no Ko; 12. Aka Tombo(Red Dragonfly); 13. Momiji; 14. Furusato(My Old Town); 15. Sato no Aki; 16. Nagori Yukii(Snowfall at the end of the Winter); 17. Nada SouSou(Down Come My Tears); 18. Ue o muite Aruko(Sukiyaki Song); 19. Kawa no nagare no Yo ni(As a River's Running); 20. Hana wa Saku(Flowers Will Bloom); 21. Satoukibi Batake(In a Large Field of Sugarcane); 22. Sen no Kaze ni natte(A Thousand Winds); 23. Stand Alone; 24. Miagete goran Yoru no Hoshi wo(Look up at the Night sky); 25. Jidai
1. Zao Chun Fu ; 2. Chun Zhi Hai ; 3. Hua ; 4. Ying Hua ; 5. Meng Long Yue Ye ; 6. Yu Zhong De Yue Liang ; 7. Zhe Tiao Lu ; 8. Hai Bin Zhi Ge ; 9. Ye Zi De Guo Shi ; 10. Xia Ri Hui Yi ; 11. Qi Ge Hai Zi ; 12. Hong Qing Ting ; 13. Hong Xie ; 14. Gu Xiang ; 15. You Jian Chui Yan ; 16. Can Xue ; 17. Lei Guang Shan Shan ; 18. Ang Shou Xiang Qian Zou ; 19. Chuan Liu Bu Xi ; 20. Hua Zheng Zai Kai ; 21. Gan Zhe Tian ; 22. Hua Wei Qian Feng ; 23. Stand Alone; 24. Yang Wang Xing Kong ; 25. Shi Dai.

Organ

SKU: BR.EB-8042

Fantasia grande in sette stazioni. Composed by Jurg Baur. Solo instruments; Softcover. Edition Breitkopf.

World premiere Dusseldorf, September 26, 1978

Music post-1945. Score. Composed 1977. 32 pages. Duration 8'. Breitkopf and Haertel #EB 8042. Published by Breitkopf and Haertel (BR.EB-8042).

ISBN 9790004174418. 9 x 12 inches.

Diese weitausgesponnene, vielteilige Fantasie folgt den Spuren eines der eigenwilligsten Spatrenaissancemeister, der durch ungewohnliche chromatische Fortschreitungen und kuhne Harmonik den Stil und den Ausdruck jener Zeit zu Ende gepragt hat. Die sieben Stationen in dieser Komposition sind charakteristische Zitate aus Madrigalen Don Carlo Gesualos, des Principe de Venosa (um 1560 - 1613). Aus den vertonbaren Buchstaben seines Namens (g-e-es-a-d) entsteht eine pragnante Intervallfolge, die als Leitmotiv in. variierter Gestalt haufig wiederkehrt. Das letzte Zitat ist identisch mit dem ersten; so schliesst sich die Folge der Stationen zu einem Ring. Der Text des Kernzitats lautet: Moro lasso al mio duolo (Ich sterbe, ach an meiner Qual), Die sieben Stationen gliedern als formale und inhaltliche Schwer- und Ruhepunkte den Verlauf des gesamten Stucks; der Beginn eines jeden neuen Zitats wird durch eine vorangehende Pause oder eine Klangfermate verdeutlicht. Dagegen bilden die sechs Intermezzi (die eigentlichen Meditationen) in ihrem verschiedenartigen Bewegungsablauf wirksame Kontrastflachen, die sich entweder aus den ruhigen Stationen unmerklich entwickeln (z. B.: A, B und E) oder in schroffem Gegensatz zu dem vorhergehenden oder nachfolgenden Abschnitt stehen. Eine Introduzione (Entwicklung des Leitmotivs) und eine Reduzione umrahmen das Werk. Anstelle eines Ausklangs im Pianissimo kann der Interpret eine jah auffahrende Schlusswendung im Fortissimo wahlen. Alte und neue Ausdrucksmittel sollen in dieser Meditation als These und Antithese gegenubergestellt und zur Synthese gefuhrt werden. (Jurg Baur) CD: Martin Herchenroder CD Koch 3-1846-3 H1 Bibliography : Abels , Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489. Richter , Reinhold: Zwischen Tradition und Avantgarde zwischen Zweifel und Hoffnung. Einige Notizen zur Chor- und Orgelmusik von Jurg Baur anlasslich des 85. Geburtstages im vergangenen November, in: Forum Kirchenmusik 54 (2003), Heft 6, pp. 23-31. Voigt , Michael: Man steht in einer Tradition, die man fortsetzt: Zum Orgelwerk von Jurg Baur, in: Forum Kirchenmusik 61 (2010), Heft 3, p. 35.

World premiere: Dusseldorf, September 26, 1978.

Motette. By Franz Joseph Haydn. Edited by Landon, H. C. Robbins. For Solo Soprano [AT], SATB Choir, 2 Trumpets, 2 Violins, Viola, Cello/Contrabass, Organ, [2 Flutes]. Hob. XXIIIa:G49. Full score available separately - see item CA.5039900. Sacred, Motets; Occasions: Praise and thanks. Part: Violin 1. Language: Latin. Composed 1765. 4 pages. Duration 14 min. Published by Carus Verlag (German import).

Concerto for Trumpet and Orchestra. By Franz Joseph Haydn. Edited by Gerlach, Sonja;Ohmiya, Makoto. For Trumpet Solo, Flute (2), Oboe (2), Bassoon (2), Horn (2), Trumpet (2), Kettledrum, Strings. Score; Urtext Edition. Hob.VIIe:1. Published by Baerenreiter-Ausgaben (German import).

SATB choir, flute, 2 oboes, 2 bassoons, 2 horns, 3 clarinos/trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.5199913

For Empress Marie Therese. Composed by Franz Joseph Haydn. Edited by Armin Kircher. German title: Te Deum (Maria Theresia). Sacred vocal music, Praise and thanks. Single Part, Viola. Hob. XXIIIc:2. 8 pages. Duration 12 minutes. Carus Verlag #CV 51.999/13. Published by Carus Verlag (CA.5199913).

ISBN 9790007225810. Language: Latin.

Joseph Haydn made two settings of the Ambrosian song of praise the Te Deum. The second of these is a work of Haydn's last period and was written around 1800 for the Empress Marie Therese. Its large orchestra gives this work, which makes no use of solo singers, a particular splendour of sound akin to that of the choruses in Haydn's Creation. Score and part available separately - see item CA.5199900.

Oboe and piano - Intermediate

SKU: YM.GTW01090837

Woodwinds. Japanese Traditional Songs. Score & part with CD. Yamaha Music Media #GTW01090837. Published by Yamaha Music Media (YM.GTW01090837).

ISBN 9784636908374.

20 songs arranged for solo oboe and piano. Oboe part with a book for piano accompaniment and Karaoke CD.
20Shou Shuang Huang Guan Du Zou Qu ,Gang Qin Ban Zou . Han Shuang Huang Guan Pu Ji Gang Qin Ban Zou Pu &Ban Zou CD.

1. Soshunfu(Ode to Early Spring); 2. Oborozukiyo(A Night with a Hazy Moon); 3. Furusato(My Old Town); 4. Haru yo Koi(Come spring!); 5. Hana wa Saku(Flowers Will Bloom); 6. Hamabe no Uta(A Song at the Seaside); 7. Shonen Jidai(Boyhood); 8. Natsu no Omoide(A Memory from Summer); 9. Shabondama(Soap Bubbles); 10. Machibo-oke(Waiting in Vain); 11. Satoukibi Batake(In a Large Field of Sugarcane); 12. Chiisai Aki Mitsuketa(I've Found a Little Autumn); 13. Yuyake Koyake; 14. Kojo no Tsuki(Moon over the Ruined Castle); 15. Kawa no nagare no Yo ni(As a River's Running); 16. Sen no Kaze ni natte(A Thousand Winds); 17. Miagete goran Yoru no Hoshi wo(Look up at the Night sky); 18. Nagori Yuki(Snowfall at the end of the Winter); 19. Kita no Kunikara(From Northern Country); 20. Nada SouSou(Down Come My Tears)
1. Zao Chun Fu ; 2. Meng Long Yue Ye ; 3. Gu Xiang ; 4. Chun Tian ,Lai Ba ; 5. Hua Zheng Zai Kai ; 6. Hai Bin Zhi Ge ; 7. Shao Nian Shi Dai ; 8. Xia Ri Hui Yi ; 9. Fei Zao Pao ; 10. Man Zhou Chang Ge ; 11. Gan Zhe Tian ; 12. Zhao Dao Liao Xiao Xiao De Qiu Tian ; 13. Wan Xia Jian Dan ; 14. Huang Cheng Zhi Yue ; 15. Chuan Liu Bu Xi ; 16. Hua Wei Qian Feng ; 17. Yang Wang Xing Kong ; 18. Can Xue ; 19. Bei Guo Zhi Lian ; 20. Lei Guang Shan Shan.

Organ

SKU: BR.EB-9071

Suite. Composed by Jurg Baur. Solo instruments; Softcover. Edition Breitkopf.

World premiere: Darmstadt, April 7, 1990

Music post-1945. Score. Composed 1989. 20 pages. Duration 7'. Breitkopf and Haertel #EB 9071. Published by Breitkopf and Haertel (BR.EB-9071).

ISBN 9790004179468. 11 x 15 inches.

Ein ganz anderer (neuer?) Baur keine Bindung an einen cantus firmus, keine barocke Form stattdessen vier suitenartig, in lockerer Form aneinander gereihte Satze. Schon die Uberschriften deuten auf Neues; der Gesamt-Titel: Kaleidoskop die einzelnen Teile: Sisyphus, Spiegelung, Artisten, Marionetten; spielerisch frei entworfene Stucke, heiter, besinnlich, humorvoll. 1. Satz: Zwei thematische Bewegungen charakterisieren den Ablauf des Sisyphus eine durch Pausen unterbrochene einstimmige Rollfigur wechselt standig mit einem stereotypen Funfton-Ostinato einem Motiv, das in vielfacher Veranderung wiederkehrt und schliesslich girlandenformig in die Tiefe fallt, symbolisch fur das vergebliche Bemuhen der altgriechischen Sagengestalt. Das zweite Stuck, Spiegelungen, wird ein- und ausgeleitet durch einen melancholischen Gedanken; dieser mundet in einer Gruppe von statischen, streng imitierten, ineinander geschobenen Spiegelklangen. Eine bewegte Figur fuhrt zu einer 5/8-Periode, bei der die Oberstimme um funf Tone kreist; am Ende steht wieder die Spiegelklang-Episode, auf einem Einzelton verloschend: das Ganze ein ruhiges, fast aleatorisch wirkendes Intermezzo. 3. Satz: Eine virtuose Studie mit kreisenden Rastelli-Tongruppen, dodekaphonisch geordneten Quintolen, begleitet von rhythmisch gegenlaufigen Klangimpulsen, immer wieder unterbrochen von rezitativischen Pedal-Bass-Soli. Zum Ende, kraftvolle Zusammenballung aller thematischen Elemente eine artistische Toccata, gipfelnd in dissonanten Klangturmen. Das Finale: Marionetten, eine funfteilige Bruckenform ABCBA. Der Satz fugt sich aus drei thematischen Abschnitten zusammen; der erste: eine abwarts gerichtete Zwolfton-Melodie, in ein Klangfeld mundend, das sich zum vielschichtigen Akkord weitet; der zweite: ein verhulltes Menuett mit funftonigem Bass-Ostinato und marionettenhaft gezirkelten Bewegungen in Melodie und Begleitung; der dritte: ein in streng serieller Manier durchgefuhrter Abschnitt mit spiegel- und krebsformigen Entsprechungen. Formteil B und A schliessen sich als variierte Reprise an. Die Coda wird gebildet von dreifach geschichtetem Trillerfeld, der Zwolfton-Melodie des Anfangs und einer Kadenz mit drei Akkorden in tiefer Lage: ein stiller Ausklang des Kaleidoskops. (Jurg Baur) Bibliography : Richter , Reinhold: Zwischen Tradition und Avantgarde zwischen Zweifel und Hoffnung. Einige Notizen zur Chor- und Orgelmusik von Jurg Baur anlasslich des 85. Geburtstages im vergangenen November, in: Forum Kirchenmusik 54 (2003), Heft 6, S. 23-31.

World premiere: Darmstadt, April 7, 1990.

SATB choir, flute, 2 oboes, 2 bassoons, 2 horns, 3 clarinos/trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.5199914

For Empress Marie Therese. Composed by Franz Joseph Haydn. Edited by Armin Kircher. German title: Te Deum (Maria Theresia). Sacred vocal music, Praise and thanks. Single Part, Cello/Double Bass. Hob. XXIIIc:2. 8 pages. Duration 12 minutes. Carus Verlag #CV 51.999/14. Published by Carus Verlag (CA.5199914).

ISBN 9790007225827. Language: Latin.

Joseph Haydn made two settings of the Ambrosian song of praise the Te Deum. The second of these is a work of Haydn's last period and was written around 1800 for the Empress Marie Therese. Its large orchestra gives this work, which makes no use of solo singers, a particular splendour of sound akin to that of the choruses in Haydn's Creation. Score and part available separately - see item CA.5199900.

Motette. By Franz Joseph Haydn. Edited by Landon, H. C. Robbins. For Solo Soprano [AT], SATB Choir, 2 Trumpets, 2 Violins, Viola, Cello/Contrabass, Organ, [2 Flutes]. Hob. XXIIIa:G49. Full score available separately - see item CA.5039900. Sacred, Motets; Occasions: Praise and thanks. Set of instrumental parts (except strings). Language: Latin. Composed 1765. 12 pages. Duration 14 min. Published by Carus Verlag (German import).

Full orchestra (3fl(III+picc), 2ob, ca, 2cl, bcl, 2bsn, cbsn, 4hn, 3tpt, 3ct, euph, 3tbn, tba, timp, perc, hp, pno, cel, org, solo sop, chorus (SA), str) - Difficult

SKU: OU.9780193519701

Composed by Ralph Vaughan Williams. Edited by Martin Yates. Orchestral parts for sale. Study score. 240 pages. Duration 80'. Oxford University Press #9780193519701. Published by Oxford University Press (OU.9780193519701).

ISBN 9780193519701. 12 x 9 inches.

The 1948 film, 'Scott of the Antarctic' is well-known for its Vaughan Williams score, which he later reworked to create Sinfonia Antartica. Vaughan Williams's original score for the film is now presented in its full, unedited form, allowing listeners to hear the full grandeur of the composer's original.

Concert Band

SKU: BT.PIL0849

Composed by Luis Serrano Alarcón. Set (Score & Parts). Piles Editorial de Musica #PIL0849. Published by Piles Editorial de Musica (BT.PIL0849).

Opus III is proud to announce that we are now the exclusive distributor for North America and Asia of Concertango, by Luis Serrano Alarcón. A 25 minute work exploring musical fusion on multiple levels through the contrast of symphonic winds to a jazz trio (piano, bass, drums). Both groups are independent at times followed by a merge into a single unique musical force. The alto saxophone soloist stands as the uniting musical element between the two groups. The omnipresent and uniting musical force is the tango and, in particular, the works of Astor Piazzolla. Luis Serrano Alarcón has transformed the rhythms, ensemble settings and stylistic idioms into a powerful artisticstatement that communicates to all. A highly effective work for mature ensembles.

Orchestra (cem,str,violin solo)

SKU: TM.01343SC

Composed by Antonio Vivaldi. Score. Lucks Music Library #A7787. Published by Lucks Music Library (TM.01343SC).

Set includes violin III; continuo in sc; cembalo in score.

Orchestra (2(D1).2.2.2/4.3.3.1,timp ,4 perc,2hp,(pf),str)

SKU: TM.09154SC

Composed by Percy Aldridge Grainger. Score. Lucks Music Library #A6749. Published by Lucks Music Library (TM.09154SC).

Transposed: cl 1+2, tpt 1-3. Optional: tpt III,some percussion (can be performed with 2 players), 1 harp, piano. Solos in related parts.

(2.2.2.2/4.2.3.0,timp,per c,str,T solo)

SKU: TM.02180SC

Composed by Friedrich Flotow. Score. Lucks Music Library #A2798. Published by Lucks Music Library (TM.02180SC).

Act III, No. 15. Key of F. Ach, so fromm, ach so traut. Sung by Lyonel (aka Lyonel's aria).

Violin & Orchestra

SKU: SU.94010610

For Violin & Orchestra. Composed by James Lee III. Strings, Violin, Orchestra. Concerto. Study Score. Subito Music Corporation #94010610. Published by Subito Music Corporation (SU.94010610).

Instrumentation : solo vn; 2222; 2200; timp, 2 perc, hp; stgs
Duration: 30'
Composed: 2018
Published by: Subito Music Publishing
Performance materials available on rental only from the Subito Music Rental Library.

By Mack Wilberg (1955-). For Mezzo-soprano and baritone solo voices, SATB choir and full orchestra (3 flutes (III piccolo), 2 oboes (both oboe d'caccia), 2 clarinet, 2 bassoon, 4 horn, celeste (or glockenspiel), harp, piano, organ (optional), strings). Mixed Voices. Contemporary Choral Works. Vocal score. Duration 40'

(1+1.2.2.2/4.2.3.1,timp,p erc,str,S solo)

SKU: TM.04030SC

Composed by Vincenzo Bellini. Score. Lucks Music Library #A4673. Published by Lucks Music Library (TM.04030SC).

Includes Act III Entr'acte. Key of Bb.

String Orchestra

SKU: ST.C500

Composed by Mark Goddard. String music. Clifton Edition #C500. Published by Clifton Edition (ST.C500).

ISBN 9790570815005.

Fiddledy Jig is an engaging suite of four dance-like pieces for the student string orchestra. The music, which was first published in 1992 by Spartan Press, employs familiar musical genre to great effect and utilises pizzicato, arco, tutti, solo, D.C. al Fine plus an occasional glissando! The violas can be supplemented or replaced by Violin III.

The printed set includes a score and full set of parts as follows; 3xvln1, 2xvln2, vln3/va, 2xvc, db.

Contents
Carousel
Ballad
M inuet & Trio
Ragtime & Tango

Grades 4–6 (approx.)
Former Spartan Press Cat. No.: SP224.