Arranged by And Orch. Lloyd Larson. For Choir. (SATB). Choral Octavo. Church Choral Series. Patriotic; Sacred. Level: Level 4 (grade L4). Choral Octavo. 16 pages. Published by Alfred Publishing.

(5 Piano Solos and a Medley (Intermediate / Late Intermediate Piano)). Arranged by Dan Coates. For Piano. Book; Graded Standard Repertoire; Piano Collection; Piano Supplemental. Official Songs of the United States Armed Forces. Form: March; Medley. 4th of July; Patriotic; Recital; Summer. Intermediate; Late Intermediate. 20 pages. Published by Alfred Music

(The Official Songs of the U.S. Army / Marine Corps. / Coast Guard / Navy / Air Force (Army Air Corps) and America the Beautiful). Arranged by and orch. Lloyd Larson. Choir Sacred. For InstruPax. This edition: InstruPax. Choral (Sacred); Choral Octavo; Worship Resources. Church Choral Series. 4th of July; Patriotic; Sacred; Spring; Summer. Instrumental Accompaniment. 116 pages

Arranged by Jay Dawson. For Marching Band (Score & Parts). Arrangers' Publ Marching Band. Grade 3. Arrangers' Publishing Company #M627. Published by Arrangers' Publishing Company

Composed by Vincenzo Bellini (1801-1835). Edited by Carlida Steffan. For Voice. CRITICAL EDITIONS. Hardcover. 40 pages. Ricordi #NR140185. Published by Ricordi

Viola (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.OB-5709-19

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Part. 12 pages. Duration 19'. Breitkopf and Haertel #OB 5709-19. Published by Breitkopf and Haertel (BR.OB-5709-19).

ISBN 9790004348345. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

Violin 2 (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.OB-5709-16

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Part. 12 pages. Duration 19'. Breitkopf and Haertel #OB 5709-16. Published by Breitkopf and Haertel (BR.OB-5709-16).

ISBN 9790004348338. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

(Ciacona, Passacaglia, Nova Cyclopeias Harmonica). By Georg Muffat. Organ. For organ. Composed (1690). 23 pages

Orchestra (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.PB-5709

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Symphonic poem; Early modern. Full score. 120 pages. Duration 19'. Breitkopf and Haertel #PB 5709. Published by Breitkopf and Haertel (BR.PB-5709).

ISBN 9790004216460. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Q uartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.

Piano Solo. Composed by Ludwig van Beethoven (1770- 1827). Edited by Felix Loy. Arranged by Ian Fountain. Sheet music. Henle Music Folios. Classical. Softcover. G. Henle #HN1373. Published by G. Henle

Violin 1 (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.OB-5709-15

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Part. 12 pages. Duration 19'. Breitkopf and Haertel #OB 5709-15. Published by Breitkopf and Haertel (BR.OB-5709-15).

ISBN 9790004348321. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

Double bass (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.OB-5709-27

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Part. 8 pages. Duration 19'. Breitkopf and Haertel #OB 5709-27. Published by Breitkopf and Haertel (BR.OB-5709-27).

ISBN 9790004348369. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

Composed by Domenico Scarlatti (1685-1757). Edited by Susanne Cox. For Piano. Henle Music Folios. Softcover. G. Henle #HN581. Published by G. Henle

Trumpet, piano

SKU: BR.MR-2255A

From Musicus apparatus academicus. Composed by William Croft. Edited by Carolyn I. Sanders. Arranged by Ann Knipschild. Solo instruments; stapled. Musica Rara. Overture; Solo concerto; Baroque. Piano reduction. 28 pages. Breitkopf and Haertel #MR 2255a. Published by Breitkopf and Haertel (BR.MR-2255A).

ISBN 9790004488003. 9 x 12 inches.

Violoncello (3(3.picc).2.cor ang.2.2.dble bsn - 4.3.3.1 - timp - perc - hp - str)

SKU: BR.OB-5709-23

Tone Poem for Large Orchestra after N. Lenau - Urtext. Composed by Richard Strauss. Edited by Nick Pfefferkorn. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphonic poem; Early modern. Part. 12 pages. Duration 19'. Breitkopf and Haertel #OB 5709-23. Published by Breitkopf and Haertel (BR.OB-5709-23).

ISBN 9790004348352. 10 x 12.5 inches.

Strauss third tone poem Don Juan was composed in spring 1888. This work is already an impressive demonstration of the composer's newly acquired confidence in mastering the orchestral apparatus. Already completed in the fall, it took over a year until its premiere in Weimar on November 11, 1889. Breitkopf & Hartel's new Urtext edition assesses not only the autograph and the first edition, but also for the first time the parts used under the composer's direction, resulting in some surprisingly new readings. An extensive preface, facsimile pages, and a detailed critical report round off this authoritative Urtext edition.

First Urtext edition since the first edition. Evaluation of all available sources, including some orchestral parts used by Strauss. A detailed critical report. Complete orchestral material available for purchase.

Orchestra (Soli SATB, Coro SATB, Fl, 2 Ob, 2 Clt, 2 Fg, 2 Cor, 2 Tr, Timp, 2 Vl, Va, Vc/Cb, Org) - Grade 3

SKU: CA.4060791

Mass in time of war. Composed by Franz Joseph Haydn. CD-Reihen bei Carus: Carus Choir Coach. Carus Choir Coach (audio only). Composed 1796. Hob. XXII:9. Duration 38 minutes. Carus Verlag #4060791. Published by Carus Verlag (CA.4060791).

Key: C major. Latin.

One of his later works, Haydn’s Missa in tempore belli, composed in 1796, is also referred to as the “Paukenmesse” (Kettledrum Mass) through the use of timpani in the Agnus Dei. For the Vienna premiere, Haydn added flutes, clarinets and horns to the score, so that in terms of sound the soloists and the chorus have to hold their own against a truly large orchestral apparatus. In this case, practicing with the Carus Choir Coach is of course recommended for a good vocal presence.

The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:

Original recording
Coach: each part is accompanied by the piano, with the original recording sounding in the background
Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.
Performer s: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) – Trinity Church Choir, Rebel Baroque Orchestra – J. Owen Burdick. Score available separately - see item CA.4060700.

Composed by Marilyn Lowe; Edwin E. Gordon; Michael Brill. Music Moves. Music Education. Book. 44 pages. GIA Publications #6443. Published by GIA Publications

Guitar

SKU: UT.CH-387

Composed by Ferdinando Carulli. Edited by Romolo Calandruccio. Classical. Score. Ut Orpheus #CH 387. Published by Ut Orpheus (UT.CH-387).

ISBN 9790215328235. 9 x 12 inches.

Opus 114 is certainly one of Carulliâ??s most important didactic works, so much so that the author himself made a point of writing in the second edition of his famous Method op. 27 (1819): The student, when moving on to the second part, must continue to practise on the easy pieces which are to be found in opus nos. 50, 15, 35, 36, 93, 7 and above all in opus 114. He maintained this indication also in later editions of the Method itself, unlike what he did with other collections of studies which were no longer recommended.
The purpose of op. 114, in particular of the preludes, is clearly explained by the author himself in the preface of op. 265: I have already offered preludes in my opus nos. 71 and 114 to people, but they serve to study and learn to play all sorts of difficult passages, to practise modulating, and learn to improvise on the guitar. Carulli seems to want to provide his students with a large handbook of formulas typical of his musical writing and he does so by making use of the keys which, in his opinion, are most congenial to the guitar. In his Method he points out: Each instrument has its favourite keys: the guitar can be played in all keys, but the best ones are: A major and minor, D major and minor, E major and minor, C, G, F. The others are difficult; [â?¦]. However, some of the difficult ones are included but only in the fourth part. Of course, the easiness of a key essentially depends on the possibility of extensive use of the open strings, especially in the low notes, ensuring the accompaniment on the main degrees.
This edition has some unique features. First of all, it is the first complete modern edition of Carulliâ??s op. 114; it presents an important critical apparatus in which the Carullian technique is presented and analysed; finally, Carulli's original fingering is indicated in the score (including that of the thumb of the left hand) and the missing one was obtained from the comparison of his other fingerings present in other works. All this allows an easy and complete reading both for those who perform the pieces following the nineteenth-century performance practice with a historical instrument, and for those who play a modern instrument.

Composed by Simon Fischer. Edition Peters #EP72544. Published by Edition Peters (PE.EP72544).