Orchestra

SKU: HL.14011919

Composed by Karsten Fundal. Music Sales America. Score. Music Sales #KP01477. Published by Music Sales (HL.14011919).

ISBN 9788759878644. English-Danish.

Orc hestration: 3(pic)(afl).2+ca.1+2bcl.2 +cbn/4.3.3.1/timp.2perc/h p/pf/strParts are for hire: hire@ewh.dkProgramnote Hush er et studie i morke og lys, kold og varm lyd. Jeg har ogsa i dette stykke forsogt at introducere staerke folelsesmaessige udtryk, ved brug af instrumentale farver og tonale virkemidler. Titlen Hush er forbundet med et slags indre digt jeg har haft i tankerne medens jeg komponerede. Da jeg jo ikke er digter i ord, er det ufuldstaendigt og utilstraekkeligt i sin form, men derfor alligevel meget godt beskrivende for stykkets vaesen. Det lyder nogenlunde sadan her i mit hoved:Hush little heart- hush.!!was time running too fast or did the hours sometimesseem long?,Were your beats too many or were they too few in the end?Hush little heart- hushdid you see too little or did you sometimes see too much?,was life too small or was it sometimes larger than life?was your thirst quenched or did you end up drained?hush, hush, little heart- hush!!,Don't be afraid, maybe you knew all the time:that one day you would have to be still-or maybe you didn't?Is that why you were beating so fast?hush, hush little heart-hush,- be comforted, 'cause even as you feel so small Your very existence is strange and beautiful - so, hush, hush, be comforted, be still my beating heart.

Full orchestra

SKU: LO.30-3489MD

Composed by Jay Rouse. Choral, cantatas. Advent, Christmas, Sacred. Full score and parts, plus CD with printable parts. Medallion Music #30/3489MD. Published by Medallion Music (LO.30-3489MD).

UPC: 000308147704.

And It Came to Pass, Emmanuel: A compelling musical triumph that invites the listener on a journey that ultimately leads to worship of the Christ Child. The text of the Christmas story blends seamlessly with original narrative and exquisite lyric writing from Rose Aspinall, and Jay Rouse's incredible ability to fashion original melodies and arrange Christmas favorites with nuance and passion is on full display. The musical opens with an ethereal underscore that leads effortlessly into a 6/8 interpretation of Adeste Fideles, followed directly by the theme song and anchor ballad for the musical, And It Came to Pass. Also included are a song written specifically for this work that gives voice to Joseph's fears and longings; a traditional gospel setting of the all-time favorite Jesus, What a Wonderful Child; a syncopated, upbeat angel and shepherd announcement song titled Fire in the Sky; and a tender worship moment at the manger called Jesus, Prince of Peace. With a little something for everyone, this creative work is sure to be an important part of your Christmas season.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Opera in Three Acts. Composed by Meredith Oakes. Full Orchestra (Full Score); Larger Works; Masterworks; Performance Music Ensemble. Faber Edition. Masterwork. Score. Faber Music #12- 057153872X. Published by Faber Music

An Opera in Three Acts (Full Score). Composed by Thomas Ades (1971-). Full Orchestra (Full Score); Larger Works; Performance Music Ensemble. Faber Edition. Score. Faber Music #12-057153838X. Published by Faber Music

(Orchestra)

SKU: BA.BA11903

Composed by Ludwig van Beethoven. Edited by Jonathan Del Mar. This edition: urtext edition. Stapled. Score. Opus 84. Baerenreiter Verlag #BA11903_00. Published by Baerenreiter Verlag (BA.BA11903).

ISBN 9790006573783. 32.5 x 25.5 cm inches.

Beethovenâ €™s incidental music op. 84 was written in 1809 for a performance of Goethe’s drama “Egmont” at the Burgtheater in Vienna. Numerous composers of the day tried their hand at writing music for the dramatic material of Goethe’s tragedy, several in collaboration with the author himself. The overture reflects the themes of the play through its expressive music, and over the last two hundred years it has become one of the most popular works by Beethoven conceived for the stage.

For this new edition, Beethoven specialist Jonathan Del Mar draws on various manuscript sources including a handwritten set of parts which has never been taken into account before. Thus, numerous discrepancies such as missing notes in the flute part or unclear bowing could be clarified for the first time.

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

Orchestra (Study Score)

SKU: HL.49004865

Score. Composed by Werner Egk. Edition Schott. Classical. Book with Audio-Online. Composed 1952. 132 pages. Schott Music #ED4408. Published by Schott Music (HL.49004865).

ISBN 9781423413134. UPC: 073999276947. 6.0x9.0x0.366 inches.

Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations


< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.



The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Orchestra

SKU: SU.91580100

For Orchestra. Composed by Steven Mercurio. Vocal/Choral, Opera. CD (Audio). Subito Music Corporation #91580100. Published by Subito Music Corporation (SU.91580100).

A Grateful Tail - Movement by Movement Siriusly, Dog Star Sirius, the brightest star in the night sky, has been used by travelers and navigators for thousands of years as a guiding star and so it is here as the opening movement for the symphony. Sirius, the cornerstone to the constellation Canis Maggiore or Big Dog sits at the foot of Orion, the hunter, leading the way. Highly cinematic, the movement evokes both a musical and visual sense of the mythological and mysterious elements of Sirius and its Dog Godstar secrets. From the clarion call of the opening, Sirius theme, the sound is buoyant and frisky emulating the nature of doggy playtime. Puppy pleasures abound as a doggy four-step, my turn on the traditional American two-step dance, is introduced. The movement transforms into an actual orchestrated frolic of small, large and medium dog barks beginning with the winds (smaller dogs) and ultimately, the big dog, brass. The movement climaxes with the coda or, Dog Park, where the winds and the brass bark and play together over the, doggy ostinato four-step rhythm, culminating with the final call of the Sirius theme. Let Sleeping Dogs Lie, Peacefully It's all in a dog's day and life. Tranquility presides over this supremely gentle, intermezzo-like movement. After a day of play, every dog needs rest. Let Sleeping Dogs Lie, is a lyrical andante inspired by the profound serenity and beauty of a dog at rest. The Last Will and Testament of Silverdene Emblem O'Neill Based on a powerful piece of prose written by the American playwright, Eugene O'Neill this text was intended as a consolation piece for Carlotta, his wife, who had become grief-stricken over the loss of their beloved dog, the Dalmatian known as Blemie.Written for a singing actor who personifies the role of Blemie, a dog at the end of his life, the movement plays like a one act, musical drama as we follow Blemie through a wonderfully three-dimensional, emotional and psychological journey writing his Last Will and Testament, for those who have loved him. Wagging the Tail: Ossia Fido's Lament A life-affirming rumba/samba using Blemie's final words from O'Neill's text, this final movement employs the most unique American musical invention, the gospel choir. In order to make the dances come alive, this movement also calls upon the colors of a rhythm section. Creating the spirit of an Irish Funeral, the movement is a joyful and revival-like celebration of a dog's life as its spirit lives on forever in the hearts and minds of dog lovers everywhere. Remember Me, remember me! My spirit is wagging a grateful tail. Published by: Subito Music Publishing Release Date: July 9, 2013.

Orchestra (Score)

SKU: HL.132289

Chopin National Edition Vol. XVe. Composed by Frederic Chopin. Edited by Jan Ekier. PWM. Classical. Book [Softcover]. Polskie Wydawnictwo Muzyczne #51600012. Published by Polskie Wydawnictwo Muzyczne (HL.132289).

ISBN 9788392036524. UPC: 884088971236. 9.25x12.0x0.277 inches.

The historical version of the score is what Chopin agreed to have published, for various reasons, but it is contaminated by involvement of foreign editorial input. The performance full score 00132241 or its 2 piano reduction 00132132242 are practical editions that are considered more authoritative for performance. The National Edition of the Works of Fryderyk Chopin Published by PWM Exclusively Distributed by Hal Leonard Corporation Co-Editors Jan Ekier and Pawel Kaminski The objective of the National Edition is to present Chopin's complete output in its authentic form, based on the entire body of available sources. Sources were analyzed with up-to-date scientific and musicological methodology. The National Edition was based on sources originated from the composer, mainly autographs, copies of autographs and first editions with the composer's corrections, and pupils' copies with Chopin's annotations. In cases when original sources were lacking, the closest possible materials were used. Collecting the source materials was a laborious task which took years of effort. The characteristics of sources, the links and discrepancies between them as well as the reasons for particular editorial decisions are discussed in the Source Commentary in each volume. The Performance Commentary appended to each volume includes: the realization of ornaments, comments on pedal markings (the original markings sometimes are inadequate, due to the difference in sound between pianos used in Chopin`s times and modern pianos), suggestions as to the harmonic legato (a performance technique often used by Chopin and now forgotten). About the National Edition Full Introduction to the Polish National Edition of the Works of Fryderyk Chopin.

Orchestra (2 Soprano Voice Solo, 2 Bass Voice Solo, 2 Ob, 2 clarinet, 2 bassoon, 2 Hn, 2 Trp, 2 V, Va, Basso, Continuo)

SKU: BA.BA08811

Divertimento teatrale in one act. Operetta for four voices. Composed by Antonio Salieri. Edited by Adrian La Salvia and Thomas Betzwieser. This edition: Edition of selected works, Urtext edition. Linen. Spectrum of European Music Theatre in Separate Editions 1. Edition of selected works, Score, Critical commentary, USB flash drive. Duration 1 hour, 15 minutes. Baerenreiter Verlag #BA08811_00. Published by Baerenreiter Verlag (BA.BA08811).

ISBN 9790006539840. 33.1 x 26.5 cm inches. Text Language: Italian. Preface: Betzwieser, Thomas. Text: Giambattista Casti.

A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart’s “Schauspieldirektor ” whilst Antonio Salieri’s “Prima la musica e poi le parole” was performed by the Italian court singers and musicians. This charming opera satire belongs to the genre of “metamelodrammaâ� � in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the librettist, composer and prima donna, appear as characters on the stage and are presented in a humorous self-reflection. In this ‘theatre about theatre’ Salieri parodies the music from Giuseppe Sarti’s “Giulio Sabino” in his insert arias, thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether ‘the word’ or ‘the music’ should take priority, this masterpiece is considered to be an early forerunner to Richard Strauss’s “Capriccio”.< br>
The new edition of the score is published as part of “opera – Spectrum of European Music Theatre in Separate Editions”. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into this newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti’s “Giulio Sabino” have also been incorporated.

â� �¢ Urtext vocal score based on the historical-critical hybrid score published as part of “opera – Spectrum of European Music Theatre in Separate Editions” edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).
• Original Italian libretto with singable German translation
• Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodramma and intertextuality etc.
• Includes an extensive appendix to the quotations taken from Giuseppe Sarti’s “Giulio Sabino”
• Idiomatic piano reduction

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

String Quartet String Orchestra - Grade 4

SKU: AP.36-52703424

Composed by Claude Debussy. Arranged by Lynne Latham. Performance Music Ensemble; Quartet; String Quartet. Ludwig Masters. Score. Latham Music Enterprises #36-52703424. Published by Latham Music Enterprises (AP.36-52703424).

ISBN 9781621569664. UPC: 746241287854. English.

Settings of Debussy's most popular works, moderately difficult (Violin 1 to 5th position). Contents: Clair de Lune; Arabesque #2; Romance; Girl with the Flaxen Hair; and Golliwog's Cakewalk.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

By Gerald Anderson. Edited by Robert Frost. (Afs Strg Mthd). orchestra method. Level: Elementary. Music book. Published by Neil A. Kjos Music Company

String Quartet String Orchestra - Grade 3.5

SKU: AP.36-52703440

Composed by Catherine McMichael. Performance Music Ensemble; Quartet; String Quartet. Ludwig Masters. Sacred. Score. Latham Music Enterprises #36-52703440. Published by Latham Music Enterprises (AP.36-52703440).

ISBN 9781628760149. UPC: 746241228376. English.

This versatile set of quartets includes: A Mighty Fortress Is Our God; Nearer, Still Nearer; Be Thou My Vision; What A Friend We Have In Jesus and O Store Gud (Swedish Folk Hymn). Medium Level.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Orchestra; Score (Study Score) Overture. Composed by Ludwig van Beethoven (1770-1827). Edited by Max Unger. Arranged by Max Unger. This edition: Saddle stitching. Sheet music. Eulenburg Taschenpartituren (Pocket Scores). Classical. Study Score. Op. 124. 84 pages. Eulenburg Edition #ETP627. Published by Eulenburg Edition

Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764). Edited by Julien Dubruque. This edition: urtext edition. Paperback. Symphonies / Versions of 1746 and 1745. Score, anthology. RCT 59. Baerenreiter Verlag #BA07563. Published by Baerenreiter Verlag

Composed by Thomas Ades (1971-). Mixed Instruments - Miscellaneous Ensemble; Performance Music Ensemble. 20th Century; Adult Contemporary. Book. Faber Music #12-0571536565. Published by Faber Music

Orchestra - all

SKU: PR.816600040

Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040).

UPC: 680160600045. 5.5x5 inches.

This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.

About CD Sheet Music (Version 1)

CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.

By Scott Joplin. Arranged by G. Horvath. EMB. 74 pages. Published by Editio Musica Budapest.

Composed by David Huntsinger. Arranged by Bonnie Huntsinger. For full orchestra. Choral. Sacred Anthem, Christmas. Conductor's score and orchestration. Crystal Sea Music Publishing #765762208100. Published by Crystal Sea Music Publishing

(Chopin National Edition 33 B Vol. VIIIa). Composed by Frederic Chopin (1810-1849). Edited by Jan Ekier and Pawel Kaminski. For Orchestra (Study Score). PWM. 110 pages. Polskie Wydawnictwo Muzyczne #51600911. Published by Polskie Wydawnictwo Muzyczne

Orchestra (Soli SATB, Coro SATB, Fl, Ob, Clt, Fg, Cor, Tr, Trb, Timp, 2 Vl, Va, Vc, Cb, [Org]) - Level 3

SKU: CA.4012950

Arrangement for chamber orchestra (arr. J. Linckelmann). Composed by Felix Bartholdy Mendelssohn. Arranged by Joachim Linckelmann. Carus digital: Extra digital products. Full Score. MWV A 14. Duration 145 minutes. Carus Verlag #4012950. Published by Carus Verlag (CA.4012950).

ISBN 9790007254650. German/English.

Men delssohn's St. Paul with just seven instead of the usual 18 wind instruments? Thanks to this arrangement for chamber orchestra, a performance with smaller forces is now possible, and presents an attractive alternative for performing Mendelssohn's first oratorio - not only in times of Corona. For it is often considerations of space, a limited budget, or the size of the chorus which call for flexibility in scoring.
The arrangement is based on the Carus Urtext edition. By reducing the symphonic wind and brass in particular, the volume of sound is more restrained, but nevertheless the symphonic character and a wide dynamic range are retained. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores, choral scores, and practice aids of the existing Carus edition can still be used.

Major oratorio can also be performed by smaller choirs
Wind and brass parts of the original version reduced to just seven single instruments
vocal scores and choral scores from the original version can be used
carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach (Audio only) series.
. Score available separately - see item CA.4012900.

Vol. 1 - Recueil du Chef D'Orchestre. Concert Band Method. Essential Elements for Band. French Edition. Score (with Media Online). 358 pages. Published by Hal Leonard