Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1053830-010

Composed by Jacques Offenbach. The Great Classics. Transcription. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053830-010. Published by De Haske Publications (BT.DHP-1053830-010).

English-German-French- Dutch.

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.

In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.

Jacque s Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition.

Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1053830-140

Composed by Jacques Offenbach. The Great Classics. Transcription. Score Only. Composed 2005. 44 pages. De Haske Publications #DHP 1053830-140. Published by De Haske Publications (BT.DHP-1053830-140).

English-German-French- Dutch.

Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!

In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.

In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.

Jacque s Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition.

Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.

By Jacques Offenbach (1819-1880). Arranged by Greg Yasinitsky. For 4 Flutes (optional Alto Flute substitute for 4th Flute). Grade 3. Score and parts. Published by Kendor Music Inc

(Featuring: Lily?s Theme / Underworld / Dragon Flight / Neville / A New Headmaster / The Resurrection Stone / Showdown / A New Beginning with Hedwig's Theme). By Alexandre Desplat and John Williams. Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Movie; Pop. Grade 4. 226 pages. Published by Alfred Music Publishing

(Featuring: Lily?s Theme / Underworld / Dragon Flight / Neville / A New Headmaster / The Resurrection Stone / Showdown / A New Beginning with Hedwig's Theme). By Alexandre Desplat and John Williams. Arranged by Jerry Brubaker. Orchestra. Full Orchestra; Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Movie; Pop. Grade 4. 28 pages. Published by Alfred Music Publishing

By Jacques Offenbach (1819-1880). Arranged by Greg Yasinitsky. For clarinet solo with piano accompaniment. Clarinet Solo with Piano Accompaniment. Grade 4. Score and part. Duration about 2 minutes. Published by Kendor Music Inc

Flute trio

SKU: P2.10022

Composed by Cornelius Boots. Chamber music, 20th century. Published by Potenza Music (P2.10022).

The third part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The trio is divided into three sections: The Way We Descend--Reflection of Narcissus--Below Nature. Taking a break from Greek myth-nerd terms, this movement introduces chthonic-flavored phrases that elaborate on our descent into the underworld, specifically through dreams. The realm of the underworld can be such a shock to our dayworld, limited, egoic consciousness that it can seem like a violation as Hillman points out, referencing the Greeks: This style of the underworld experience is overwhelming, it comes as violation, dragging one out of life and into the Kingdom that the Orphic Hymn to Pluto describes as 'void of day.' So it often says on Greek epitaphs that entering Hades is 'leaving the sweet sunlight.' (p.49) He elaborates on the differences between dayworld and underworld perspectives: The dream is not compensation but initiation. It does not complete ego-consciousness, but voids it. So it matters very much the way we descend. (p.112) He goes on to describe the various modes in which mythical figures have descended: Ulysses and Aenas to learn; Hercules to take and to test, for example. To act like Hercules, like the hero, in the underworld is to miss the point and cause more problems, the villain in the underworld is the heroic ego, not Hades. (p.113).

Chamber Music Piano, alto Saxophone

SKU: PR.114419850

Composed by Stacy Garrop. Sws. See lengthy program note on prefatory page. Set of Score and Parts. 44+24 pages. Duration 23 minutes. Theodore Presser Company #114-41985. Published by Theodore Presser Company (PR.114419850).

ISBN 9781491135808. UPC: 680160681044. 9 x 12 inches.

Both a spectacular concerto for saxophone, and a dramatic tone poem on Roman mythology, QUICKSILVER is a 23-minute concerto for Alto Saxophone and Wind Ensemble by one of the sax literature’s most commissioned and admired composers.Through worded captions as well as gorgeously expressive tone painting, Movement 1 depicts the birth and childhood pranks of Mercury, Movement 2 shows him escorting souls to the gates of the Underworld, and Movement 3 is a phantasmagoric finale portraying Mercury as messenger amid the conflicts of other mythological figures. There are many YouTube performances available, both in the original version with Wind Ensemble, and with Piano.
In addition to being another name for the element mercury, “quicksilver” is used to describe something that changes quickly or is difficult to contain. My concerto of the same name was inspired by the Roman god Mercury, as well as the mercurial nature of the saxophone: unpredictable, very lively, and volatile. Mercury (known as Hermes in Greek mythology) is best known for his winged shoes, which allowed him to fly swiftly as the messenger of his fellow Olympians. Mercury had other duties too, including serving as the god of merchants, travelers, and tricksters; he also ushered souls of the departed to the Underworld.Quicksilver tells three tales of the Roman god. The first movement (Antics of a Newborn God) opens with the birth of Mercury; after he takes his first steps, he toddles around, gleefully looking for mischief. He stumbles across a herd of cows that belong to his brother Apollo; Mercury slyly lets the cows out of their pen before toddling onward with his mischief-making.In the second movement (Guiding Souls to the Underworld), Pluto, god of the Underworld, bids Mercury to bring him fresh souls. The movement begins with death-knells tolling for humans who are about to die; Mercury picks up these souls and leads them down to the gates of the Underworld.The third and final movement (Messenger of Olympus) depicts Mercury as he is busily running errands for various gods and goddesses. We first encounter him mid-flight as he dashes to earth to find Aeneas, a Trojan lieutenant who had been run out of Troy by the invading Greeks. Aeneas is on a quest to find land on which to establish a new city that would eventually become Rome. While traveling, he is distracted from his quest when he meets the beautiful queen Dido. They live together for many years before Mercury intervenes; he chastises Aeneas for giving up on his quest and persuades him to pick it up again. As Aeneas mournfully resumes his journey, we hear Dido perish of a broken heart. Mercury then takes to the skies to seek out Perseus, who is preparing to kill Medusa, the hideous gorgon who has snakes for hair and a gaze that turns those who catch her glance into stone. Mercury advises Perseus on how to slay Medusa and lends Perseus his sword to do the deed. We hear Perseus victorious in the beheading of Medusa, after which Mercury takes to the skies once more to fly home to Olympus.

Concert Band - Grade 6

SKU: BT.DHP-1002127-040

Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2000. De Haske Publications #DHP 1002127-040. Published by De Haske Publications (BT.DHP-1002127-040).

Valon is a one-part composition. The surprising opening measures describe the sudden entrance into another world. After these initial measures, we hear a choral-like melody, which is repeated three times in different instrumentations with increasing intensity. This represents the procession of the ghosts dwelling in the underworld of Avalon, headed by the mighty magician Merlin.The exalted sound is then suddenly interrupted by a fast movement, in which ostinato figures alternate with bi-tonal motives. This represents the attempt of some evil characters to invade Avalon. Mordred is the leader of this horde and together they disturb the peace and quiet in the otherwisecalm Avalon. The flourish of trumpets heralds the entrance of the Knights of the Round Table who drive away the intruders and return to their castle, Tintagel, in a triumphal procession. Upon their return, the next problem presents itself. An inexplicable disease plagues the resting ghosts.The Knights and the Council of the Wise are convened to find out the cause of this problem. Musically this can be heard in the repetition of the initial themes. The Knights and the Council of the Wise determine that the presence of mortals is the reason that the resting ghosts are suffering. There is simply no room for mortal souls in Avalon. After a powerful statement by King Arthur, we hear a glissando referring to the very first measures, and… we are back in the normal world. The journey through the underworld has come to an end and a dream is over.

Avalon est une pièce dont le décor et les personnages sont empruntés aux légendes arthuriennes. L’œuvre débute par quelques mesures surprenantes qui nous font entrer subitement dans un autre monde. Une mélodie produisant l’effet d’un chœur représente la procession des fantômes et des esprits qui vivent dans l’île magique d’Avalon, avec, leur tête, le puissant magicien Merlin. Soudain, des figures ostinato et des phrases bitonales expriment la tentative d’une horde maléfique conduite par Mordred d’envahir le monde paisible d’Avalon. Après que le Roi Arthur soit intervenu avec force, on entend un glissando qui rappelle les toutes premières mesures, et… noussommes de retour dans le monde réel. Le voyage se termine et un rêve prend fin.

Fanfare Band - Grade 6

SKU: BT.DHP-0920388-020

Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 1992. De Haske Publications #DHP 0920388-020. Published by De Haske Publications (BT.DHP-0920388-020).

Avalon is a one-part composition. The surprising opening measures describe the sudden entrance into another world. After these initial measures, we hear a choral-like melody, which is repeated three times in different instrumentations with increasing intensity. This represents the procession of the ghosts dwelling in the underworld of Avalon, headed by the mighty magician Merlin.The exalted sound is then suddenly interrupted by a fast movement, in which ostinato figures alternate with bi-tonal motives. This represents the attempt of some evil characters to invade Avalon. Mordred is the leader of this horde and together they disturb the peace and quiet in the otherwisecalm Avalon. The flourish of trumpets heralds the entrance of the Knights of the Round Table who drive away the intruders and return to their castle, Tintagel, in a triumphal procession. Upon their return, the next problem presents itself. An inexplicable disease plagues the resting ghosts.The Knights and the Council of the Wise are convened to find out the cause of this problem. Musically this can be heard in the repetition of the initial themes. The Knights and the Council of the Wise determine that the presence of mortals is the reason that the resting ghosts are suffering. There is simply no room for mortal souls in Avalon. After a powerful statement by King Arthur, we hear a glissando referring to the very first measures, and… we are back in the normal world. The journey through the underworld has come to an end and a dream is over.

Avalon est une pièce dont le décor et les personnages sont empruntés aux légendes arthuriennes. L’œuvre débute par quelques mesures surprenantes qui nous font entrer subitement dans un autre monde. Une mélodie produisant l’effet d’un chœur représente la procession des fantômes et des esprits qui vivent dans l’île magique d’Avalon, avec, leur tête, le puissant magicien Merlin. Soudain, des figures ostinato et des phrases bitonales expriment la tentative d’une horde maléfique conduite par Mordred d’envahir le monde paisible d’Avalon. Après que le Roi Arthur soit intervenu avec force, on entend un glissando qui rappelle les toutes premières mesures, et… noussommes de retour dans le monde réel. Le voyage se termine et un rêve prend fin.

Brass Band - Grade 2

SKU: BT.GOB-000586-130

Arranged by Dagmar Kildevann. Score Only. 12 pages. Gobelin Music Publications #GOB 000586-130. Published by Gobelin Music Publications (BT.GOB-000586-130).

In a suite of three parts arranger Dagmar Kildevann makes a bridge between starting musician and classic composer.
You hear the following parts:
Grand march from Aida - Verdi.
Aria, from The Marriage of Figaro - Mozart.
Can-Can, from Orpheus in the Underworld - Offenbach.

In een suite van 3 delen laat arrangeur Dagmar Kildevann de beginnende muzikant kennis maken met klassieke componisten.

U hoort de delen:
Grand march from Aida - Verdi.
Aria, from The Marriage of Figaro - Mozart.
Can-Can, from Orpheus in the Underworld - Offenbach.

Brass Band - Grade 2

SKU: BT.GOB-000586-030

Arranged by Dagmar Kildevann. Set (Score & Parts). 27 pages. Gobelin Music Publications #GOB 000586-030. Published by Gobelin Music Publications (BT.GOB-000586-030).

In a suite of three parts arranger Dagmar Kildevann makes a bridge between starting musician and classic composer.
You hear the following parts:
Grand march from Aida - Verdi.
Aria, from The Marriage of Figaro - Mozart.
Can-Can, from Orpheus in the Underworld - Offenbach.

In een suite van 3 delen laat arrangeur Dagmar Kildevann de beginnende muzikant kennis maken met klassieke componisten.

U hoort de delen:
Grand march from Aida - Verdi.
Aria, from The Marriage of Figaro - Mozart.
Can-Can, from Orpheus in the Underworld - Offenbach.

String Quartet or String Orchestra - easy

SKU: BT.DHP-1135315-070

Arranged by Nico Dezaire. De Haske String Orchestra Series. Set (Score and Parts). De Haske Publications #DHP 1135315-070. Published by De Haske Publications (BT.DHP-1135315-070).

ISBN 9789043146814. 9x12 inches. English-German-French-Dut ch.

More Classical Highlights is the follow-up to Classical Highlights, a collection featuring arrangements of classical themes dating from the 17th century up to the19th century. The parts are quite easy and attractively written, but the arrangements stay as faithful as possible to the original works. Baroque music is represented with two highlights: the well-known Canon by Pachelbel may well be the most performed 17th century composition. The power of the piece lies in a bass line of only eight notes, above which the melodic line of the round itself develops. Réjouissance from Music for the Royal Fireworks is a very joyful composition bythe Anglo-German baroque composer Handel. The 18th century classical style gives us the refined minuet by Boccherini, the Italian composer who wrote a wealth of chamber music. The 19th century features in three famous works: the lively Marche Militaire No 1 by the Austrian composer Schubert originates from 3 Marches Militaires for four-handed piano. The Can Can from Orphée aux enfers (Orpheus in the Underworld) is the best-known separately performed piece by the operetta composer Offenbach. Following this exciting dance music there is the beautiful, lofty Largo theme from the second movement of Czech composer Dvorákâ??s From the New World Symphony. In short: Six varying arrangements - challenging and very suitable for performances!

More Classical Highlights is het vervolg op Classical Highlights, een verzameling arrangementen van klassieke thema´s die dateren uit de periode van de 17e eeuw tot en met de 19e eeuw. De partijen zijn eenvoudig en aantrekkelijk geschreven; tegelijkertijd blijven de arrangementen dicht bij het origineel. De barokmuziek is vertegenwoordigd met twee highlights. De bekende Canon van Pachelbel is wellicht de meest gespeelde 17e-eeuwse compositie. De kracht ervan ligt in een baslijn van slechts acht noten waarboven zich het lijnenspel van de canon ontspint. Réjouissance uit Music for the Royal Fireworks is een zeer opgewekte compositie van deDuits-Engelse barokcomponist Händel. De 18e-eeuwse klassieke stijl horen we terug in het verfijnde menuet van Boccherini, een Italiaanse componist die een schat aan kamermuziek schreef. De 19e eeuw komt naar voren in drie beroemde stukken. De uitbundige Marche militaire nr. 1 van de Oostenrijkse componist Schubert komt uit 3 Marches militaires voor vierhandig piano. De Can Can uit Orphée aux enfers (Orpheus in de onderwereld) is het beroemdste afzonderlijk uitgevoerde stuk van de operettecomponist Offenbach. Na deze opzwepende dansmuziek volgt het prachtige, gedragen thema uit het tweede deel van de symfonie Uit de nieuwe wereld met de titel Largo, van de hand van de Tsjechische componist Dvorák. Kortom: zes zeer afwisselende arrangementen, uitdagend en uitermate geschikt voor uitvoeringen!

More Classical Highlights ist die Fortsetzung von Classical Highlights, einer Sammlung von Arrangements klassischer Themen aus der Zeit vom 17. bis zum 19. Jahrhundert. Die Stimmen sind recht einfach gehalten und reizvoll ausgearbeitet; zugleich sind die Arrangements nah an den Originalstu cken. Der Barock ist mit zwei musikalischen Höhepunkten vertreten: Der bekannte Canon von Pachelbel ist vielleicht die meist gespielte Komposition aus dem 17. Jahrhundert. Die Kraft dieses Stu ckes liegt in einer Basslinie aus nur acht Noten, u ber der sich das eigentliche Gefu ge des Kanons entwickelt. Réjouissance aus der Feuerwerksmusik ist einesehr fröhliche Komposition des deutsch-englischen Barockkomponisten Händel. Ein Kleinod der Klassik aus dem 18. Jahrhundert ist das raffinierte Menuett von Boccherini, einem italienischen Komponisten, der einen gro�en Schatz an Kammermusik schrieb. Das 19. Jahrhundert ist mit drei beru hmten Werken vertreten: Der lebhafte Marche militaire No. 1 des �sterreichers Schubert stammt aus 3 Marches militaires fu r Klavier zu vier Händen. Der Can-Can aus Orphée aux enfers (Orpheus in der Unterwelt) ist das beru hmteste separat aufgefu hrte Stu ck des Operettenkomponisten Offenbach. Nach dieser mitrei�enden Tanzmusik folgt ein schönes, erhabenes Thema aus dem zweiten Satz der Sinfonie Aus der Neuen Welt mit dem Titel Largo aus der Feder des tschechischen Komponisten Dvorák.

More Classical Highlights, qui fait suite au recueil Classical Highlights, rassemble une collection dâ??arrangements de thèmes classiques couvrant une période de trois siècles, du XVIIe au XIXe siècle. Les diverses parties instrumentales sont faciles et agréables jouer, mais les arrangements restent néanmoins fidèles aux compositions originales. La musique baroque est représentée par deux oeuvres toujours appréciées. Parmi toutes les compositions du XVIIe siècle, le célèbre Canon de Pachelbel est peut-être celle que lâ??on entend le plus souvent. Sa puissance réside dans une simple ligne de basse de huit notes par-dessus laquelle se développe le motif ducanon lui-même. Réjouissance, tirée de Music for the Royal Fireworks, est une pièce très enjouée du compositeur baroque anglo-allemand Haendel. Le style classique du XVIIIe siècle est inclus sous la forme dâ??un élégant menuet de Boccherini, un compositeur italien qui a écrit une quantité de musique de chambre. Le XIXe siècle est évoqué par trois oeuvres célèbres. La dynamique Marche militaire n° 1, du compositeur autrichien Schubert, extrait des Trois marches militaires pour piano quatre mains. Le Cancan dâ??Orphée aux enfers est la plus connue des oeuvres dâ??Offenbach, célèbre pour ses opérettes. Cette danse endiablée est suivie du Largo, admirable thème du deuxième mouvement de la Symphonie du Nouveau Monde, du compositeur tchèque Dvorák. En résumé : six arrangements variés, stimulants et parfaits pour être interprétés en concert !

(Overture). By Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola. score only.

Teaching Little Fingers to Play/Early Elementary Level. Arranged by Randall Hartsell. Willis. Softcover. Size 8.5x11 inches. 24 pages. Published by Willis Music.