By Soon Hee Newbold. String Orchestra. FJH String Orchestra. A vast and mighty empire for thousands of years, the ancient Egyptian civilization has intrigued and fascinated the modern world with its art, culture, and amazing architecture. The Great Sphinx, giant pyramids, and statues of pharaohs are the powerful images of Egypt. From King Tut to Cleopatra, ancient Egypt continues to be an influence on societies of today. Score for this title: ST6118S. Extra part for this title: ST6118P. Level: 4. Published by The FJH Music Company Inc.

Concert Band/Harmonie/Fanfare Band - Grade 2.5

SKU: BT.DHP-1104871-215

Composed by Jacob De Haan. On Parade! March. Score Only. Composed 2010. De Haske Publications #DHP 1104871-215. Published by De Haske Publications (BT.DHP-1104871-215).

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

Viterbo shares its name with a province located in the Latium region of Italy. Its landscape, a mixture of fl atland, rolling hills and lakes, contains many artefacts of the Roman Empire as well as the preceding Etruscancivilization. This area provided inspiration for Viterbo, written for the 50th anniversary of the orchestra in the town of Monterosi, Viterbo.

Viterbo is genoemd naar de gelijknamige provincie en hoofdstad van de regio Latium in Midden-Italië. In dit heuvellandschap zijn vele restanten van de Romeinse en Etruskische cultuur te vinden. Deze mooie, historische streek booddan ook rijkelijk inspiratie voor de mars die Jacob de Haan schreef ter ere van het vijftigjarig jubileum van het blaasorkest van Monterosi in Viterbo.

Der Marsch Viterbo leiht seinen Namen von der gleichnamigen Provinz und deren Hauptstadt in der mittelitalienischen Region Latium. In der vorwiegend hügeligen Landschaft sind viele Überreste der römischen und zuvor etruskischen Zivilisation zu finden. Diese schöne, geschichtsträchtige Landschaft bot reichlich Inspiration für diesen Marsch,der zu Ehren des 50-jährigen Jubiläums des Blasorchesters des Dorfes Monterosi in Viterbo geschrieben wurde.

La province italienne de Viterbe est située dans le Latium. Les Étrusques et les Romains y ont laissé de riches témoignages. Cette marche évoque avec spontanéité l’histoire extraordinaire de cette région de forêts, decollines douces, de monts et de plaines étendues.

La splendida citt laziale e la sua provincia, ricche di testimonianze etrusche e romane, hanno ispirato Jacob de Haan nel comporre questa marcia dedicata alla Banda Musicale Santa Cecilia Monterosi per il 50° anniversario di fondazione e al suo direttore Aldo Tamantini.

Concert Band/Harmonie/Fanfare Band - Grade 2.5

SKU: BT.DHP-1104871-015

Composed by Jacob De Haan. On Parade! March. Set (Score & Parts). Composed 2010. De Haske Publications #DHP 1104871-015. Published by De Haske Publications (BT.DHP-1104871-015).

MARS (135X180) inches. English-German-French-Dut ch.

Viterbo shares its name with a province located in the Latium region of Italy. Its landscape, a mixture of fl atland, rolling hills and lakes, contains many artefacts of the Roman Empire as well as the preceding Etruscancivilization. This area provided inspiration for Viterbo, written for the 50th anniversary of the orchestra in the town of Monterosi, Viterbo.

Viterbo is genoemd naar de gelijknamige provincie en hoofdstad van de regio Latium in Midden-Italië. In dit heuvellandschap zijn vele restanten van de Romeinse en Etruskische cultuur te vinden. Deze mooie, historische streek booddan ook rijkelijk inspiratie voor de mars die Jacob de Haan schreef ter ere van het vijftigjarig jubileum van het blaasorkest van Monterosi in Viterbo.

Der Marsch Viterbo leiht seinen Namen von der gleichnamigen Provinz und deren Hauptstadt in der mittelitalienischen Region Latium. In der vorwiegend hügeligen Landschaft sind viele Überreste der römischen und zuvor etruskischen Zivilisation zu finden. Diese schöne, geschichtsträchtige Landschaft bot reichlich Inspiration für diesen Marsch,der zu Ehren des 50-jährigen Jubiläums des Blasorchesters des Dorfes Monterosi in Viterbo geschrieben wurde.

La province italienne de Viterbe est située dans le Latium. Les Étrusques et les Romains y ont laissé de riches témoignages. Cette marche évoque avec spontanéité l’histoire extraordinaire de cette région de forêts, decollines douces, de monts et de plaines étendues.

La splendida citt laziale e la sua provincia, ricche di testimonianze etrusche e romane, hanno ispirato Jacob de Haan nel comporre questa marcia dedicata alla Banda Musicale Santa Cecilia Monterosi per il 50° anniversario di fondazione e al suo direttore Aldo Tamantini.

Concert Band - Grade 4

SKU: ML.013771070

Composed by Lionel Beltrán-Cecilia. Full set. Molenaar Edition #013771070. Published by Molenaar Edition (ML.013771070).

BAIA is a symphonic episode inspired by the submerged Italian city. Through its melodies and sound effects, the authoraims to transport the audience to different moments, providing an aquatic perspective from the eyes of a restless andadventurous fish. This musical journey leads to the exploration of the city of Baia and its archaeological richness preservedbeneath the marine depths, even across time.[…In its time, Baia was an ancient Roman city that flourished during the 1st and 2nd centuries AD. It was a luxuriousdestination and a significant political and social centre in the Roman Empire. Renowned for its thermal baths, impressivearchitecture, and beautiful natural surroundings, the city became a popular retreat for Roman high society, including emperors,nobles, and artists. However, over the centuries, Baia was affected by volcanic activity and changes in the coastline, resulting ina significant portion of the city being submerged underwater. Today, the remains of Baia lie beneath the waters of the gulf,turning it into a fascinating underwater archaeological site…]

BAIA is een symfonische episode geïnspireerd door de ondergedompelde Italiaanse stad. Door middel van melodieën en geluidseffecten wil de auteurhet publiek mee te nemen naar verschillende momenten en biedt een aquatisch perspectief vanuit de ogen van een rusteloze enavontuurlijke vis. Deze muzikale reis leidt naar de verkenning van de stad Baia en haar archeologische rijkdom die bewaard is geblevenonder de zeebodem, zelfs door de tijd heen.[In zijn tijd was Baia een oude Romeinse stad die floreerde in de 1e en 2e eeuw na Christus. Het was een luxueuzebestemming en een belangrijk politiek en sociaal centrum in het Romeinse Rijk. Bekend om zijn thermale baden, indrukwekkendearchitectuu r en de prachtige natuurlijke omgeving, werd de stad een populair toevluchtsoord voor de Romeinse society, waaronder keizers,edelen en kunstenaars. In de loop der eeuwen werd Baia echter beïnvloed door vulkanische activiteit en veranderingen in de kustlijn, wat resulteerde ineen groot deel van de stad onder water kwam te staan. Vandaag de dag liggen de overblijfselen van Baia onder het water van de Golf,waardoor het een fascinerende onderwater archeologische vindplaats is geworden...]…

BA IA est un épisode symphonique inspiré par la ville italienne submergée. À travers ses mélodies et ses effets sonores, l'auteur cherche à transporter le public à différents moments.l'auteur vise à transporter le public dans différents moments, offrant une perspective aquatique à travers les yeux d'un poisson agité et aventureux.d'un poisson agité et aventureux. Ce voyage musical conduit à l'exploration de la ville de Baia et de sa richesse archéologique préservée sous les profondeurs marines.sous les profondeurs marines, même à travers le temps.[...En son temps, Baia était une ancienne ville romaine qui a prospéré au cours des 1er et 2e siècles de notre ère. C'était une destination luxueusedestination luxueuse et un centre politique et social important dans l'Empire romain. Réputée pour ses thermes, son architecturearchitecture impressionnante et son magnifique environnement naturel, la ville devint un lieu de retraite populaire pour la haute société romaine, y compris les empereurs, les nobles et les artistes,empereurs, nobles et artistes. Cependant, au fil des siècles, Baia a été affectée par l'activité volcanique et les modifications du littoral.une grande partie de la ville a été submergée sous l'eau. Aujourd'hui, les vestiges de Baia reposent sous les eaux du golfe,ce qui en fait un site archéologique sous-marin fascinant...]

BAIA ist eine symphonische Episode, die von der versunkenen italienischen Stadt inspiriert ist. Mit seinen Melodien und Klangeffekten will der Autorder Autor das Publikum in verschiedene Momente versetzen, indem er eine aquatische Perspektive aus den Augen eines rastlosen undabenteuerlichen Fisches. Diese musikalische Reise führt zur Erkundung der Stadt Baia und ihres archäologischen Reichtums, derunter den Meerestiefen bewahrt hat, sogar über die Zeit hinweg.[...Baia war eine antike römische Stadt, die im 1. und 2. Jahrhundert n. Chr. florierte. Sie war ein luxuriösesund ein bedeutendes politisches und soziales Zentrum im Römischen Reich. Berühmt für seine Thermalbäder, seine beeindruckendeArchitektur und die schöne natürliche Umgebung bekannt, wurde die Stadt zu einem beliebten Rückzugsort für die römische High Society, darunter Kaiser, Adlige und Künstler,Adlige und Künstler. Im Laufe der Jahrhunderte wurde Baia jedoch durch vulkanische Aktivitäten und Veränderungen der Küstenlinie beeinträchtigt, was dazu führte, dassein großer Teil der Stadt unter Wasser gesetzt wurde. Heute liegen die Überreste von Baia unter dem Wasser des Golfs,und machen sie zu einer faszinierenden archäologischen Unterwasserstätte...].

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.114419980

Composed by Stacy Garrop. Sws. Set of Score and Parts. 32+16+16+16+16+16 pages. Duration 16 minutes. Theodore Presser Company #114-41998. Published by Theodore Presser Company (PR.114419980).

UPC: 680160681723. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

By Ralph Hultgren. Concert Band. Brolga Music Symphonic Repertoire. Grade 5. Score and set of parts. Duration 11:10. Published by Brolga Music Publishing Company

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.11441998S

Composed by Stacy Garrop. Sws. Full score. 32 pages. Duration 16 minutes. Theodore Presser Company #114-41998S. Published by Theodore Presser Company (PR.11441998S).

UPC: 680160681730. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

By James Mansfield. Organ. Level: 3-staff. Sacred Organ. Published by Lorenz Publishing Company.

SKU: BA.BVK01677

Composed by Gunther Braam. Edited by John Warrack and Richard Maccnutt. This edition: Complete edition. Linen. New Berlioz Edition. Volume 26. Complete edition, Book. Baerenreiter Verlag #BVK01677_00. Published by Baerenreiter Verlag (BA.BVK01677).

ISBN 9783761816776. 27.5 x 19.8 cm inches. Translation: John Warrack.

The volume contains 122 portraits of Hector Berlioz, including paintings, medals, busts, woodcuts, drawings, lithographs, photographs and caricatures. It also presents several doubtful or spurious portraits.
Each reproduction is accompanied by information on its date, artist and present location. This collection of all known Berlioz portraits sheds entirely new light on the life and surroundings of the great French composer.

The Portraits of Hector Berliozis the first collection of all the portraits made of Berlioz during his lifetime. It ranges from photographs, formal paintings and drawings by way of woodcuts and lithographs to the many caricatures which his striking appearance attracted. Each picture is accompanied by a full description and thorough documentation of its location and history, details of the artist's career and relationship with Berlioz, an explanation of the circumstances of the picture's creation, and much else in the way of relevant comment. This documentation also sheds light on the development of photography and its position in the society of the Second Empire , as well as on the emphasis on caricature in the often satirical journalism of the day. Where they contribute to the appreciation of the picture, the articles which the caricatures illustrate, or extracts from them, are also included in an Appendix. Some of the pictures are published for the first time and many for the first time in colour.

As well as being fascinating and often entertaining, the collection adds to our understanding of Berlioz's life, times and the circumstances in which his music was composed and performed.

Composed by William Bolcom. E.B. Marks. Softcover. 60 pages. Published by Edward B. Marks Music

Composed by Felicia A. B. Sandler and Ephraim Amu. 20th Century. Duration 1 minute, 50 seconds. Galaxy Music Corporation #1.3518. Published by Galaxy Music Corporation

Hardcover in German

SKU: HL.49047368

Book 3 Hardcover in German. Composed by Nadezhda von Meck and Peter Illyich Tchaikovsky. Edited by Thomas Kohlhase. Edition Schott. Classical, German Edition. Hardcover. 952 pages. Schott Music #ED22750-30. Published by Schott Music (HL.49047368).

ISBN 9783795718848. UPC: 196288207658.

This complete edition, which is the first outside Russia, of the almost fourteen-year correspondence between P. I. Tchaikovsky and the music-loving patron (and wealthy widow of a Baltic railway entrepreneur) N. F. von Meck represents for German-speaking readers and music historians an indispensable primary source on the life and work of the greatest Russian composer as well as on his environment, while, at the same time, reflecting the political, cultural and social situation of the Russian Empire from the perspective of two privileged, educated and regime-loving subjects. The life of the large families Tchaikovsky-Davydov and von Meck, the unpleasant consequences of the composer's unhappy marriage, faith and religion, literature, philosophy, the reception of earlier and contemporary Russian and European music, fine arts, foreign travel, political, economic and social conditions - even farming (in Brailov and Kamenka/Verbovka, the Ukrainian estates of the von Meck and Davydov families) and many more are the topics of this correspondence between two related and yet so different personalities who, as agreed, never met in personal conversation and yet “talked” to each other in lively, often confessional speech. The texts of the letters in the present edition (whose planning dates back to the 1950s), with the added contrasting excerpts from letters of Tchaikovsky to other persons, such as his trusted brothers Anatoly and Modest, have been revised according to the new Russian Complete Edition by Polina Vajdman (Celjabinsk 2007 ff.). Various introductions, accompanying texts and overviews as well as comprehensive indices (one of them systematically by subjects), together with numerous explanations and notes at the bottom of the pages, make it easier for the reader to find his/her way through the all in all more than 1,200 documents. The three volumes are also available for subscription.

Alphorn & keyboard

SKU: HH.HH430-KBD

Composed by Leopold Mozart. Edited by Frances Jones. Alphorn & Keyboard. Keyboard reduction and solo part. Duration c.11'. Edition HH Music Publishers #HH430-KBD. Published by Edition HH Music Publishers (HH.HH430-KBD).

ISBN 9790708146346.

A pastorella (the Latin pastores means shepherds) had evolved during the eighteenth century as a work to be incorporated into midnight Mass that dramatised the role of the sheperds in the Nativity story, recounting their wonder at receiving the news of the holy birth in their fields from the angel and their arrival at the stable with gifts for the baby Jesus. It was a popular genre for 150 years in the eastern parts of the Austro-Hungarian empire. The horn-call motifs of the village herdsman, used to round up his cattle in the mornings, were frequently part of the composition: so indeed was the instrument itself, in order to enhance the realism of the scene.

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000712-140

Composed by Jan Bosveld. Score Only. 40 pages. Gobelin Music Publications #GOB 000712-140. Published by Gobelin Music Publications (BT.GOB-000712-140).

The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III.
He reigned the New Kingdom from 1353 until 1336 BC.
Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history.
His harsh reign induced much suffering under the population.
During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside.
An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton.
Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself.
Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself.
It was now necessary to change his name: ‘Amenhotep’ meaning ‘the god Amun is satisfied’, because he didnt want to be associated with Amun or any of the other deities.
He renamed himself ‘Achnaton’ which means ‘servant of the Aten’ -- a much more appropriate title!
In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton (‘the Horizon of the Aten’) which was where Tel el-Amarna stands today. He did this to further isolate himself from the ‘old’ religion, since the previous capital Thebes was thecentre of worship of Amun.
This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire.
Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings.
From that moment on he was remembered as the‘heretic king’.

This composition was partially funded by the ‘Prins Bernhard Cultuurfonds’.

D e Egyptische farao Achnaton was de zoon en opvolger van Amenhotep III en besteeg de troon als Amenhotep IV.
Hij regeerde van 1353 tot 1336 voor Christus.
Achnaton was nauwelijks ge?nteresseerd in politiek en handel waardoorhet Egyptische rijk onder zijn bewind in economisch verval raakte. Hij regeerde per decreet waaronder de bevolking zwaar te leiden had.
In die tijd was het gebruikelijk dat de farao’s meerdere vrouwen hadden waarvan hij eréén tot zijn hoofdvrouw koos waarmee hij zijn rijk regeerde.
Nefertete was de uitverkorene. Een zeer mooie, elegante vrouw, die met haar invloed op het harde beleid van Achnaton nog voor enige verlichting zorgde. Dit en haar aanwezigheidbij openbare presentaties leidde ertoe dat zij bij de bevolking een veel grotere populariteit genoot dan de farao zelf.
Achnaton hield zich vooral bezig met religieuze vraagstukken. Hij brak met het idee dat er meergoden zouden bestaan. Volgens hem was er slechts één god, namelijk de zon. Deze zonnegod noemde hij Aton.
Nadat deze gedachte zich bij hem had geopenbaard veranderde hij zijn naam van Amenhotep in Achnaton, hetgeen in het Egyptisch“Aton welgevallig” betekent.
In zijn zesde regeringsjaar stichtte Achnaton de nieuwe regeringszetel “Achet-Aton”, ver van de bewoonde wereld in de woestijn.
Deze stad, het huidige Tell el-Amarna in Midden-Egypte,stond geheel in het teken van de zonnegod. Deze nieuwe godsdienst stuitte op veel weerstand bij de bevolking en de priesters. De godsdienststrijd die hierdoor ontstond gekoppeld aan het economische verval zorgde, ondanks de invloedvan Nefertete, voor de ineenstorting van het Egyptische rijk als grote mogendheid.
Na de dood van Achnaton werd de regeringszetel “Achet-Aton” gebruikt als steengroeve. Zijn naam werd verwijderd van de alle bouwwerken en herinneringszuilen.

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000712-010

Composed by Jan Bosveld. Set (Score & Parts). 38 pages. Gobelin Music Publications #GOB 000712-010. Published by Gobelin Music Publications (BT.GOB-000712-010).

The Egyptian pharaoh Amenhotep IV, better known as Achnaton, was the second son and successor of Amenhotep III.
He reigned the New Kingdom from 1353 until 1336 BC.
Achnatons lack of interest in the economic well-being of Egypt ushered ina revolutionary period in Egyptian history.
His harsh reign induced much suffering under the population.
During this period when it was customary for a pharaoh to have many wives, he had taken his cousin Nefertete to reign as queen at hisside.
An elegant and very beautiful woman, she used her influence to ease the turmoil caused by Achnaton.
Combined with her grace, her presence at public functions led to a greater popularity among her subjects than the pharaoh enjoyedhimself.
Being mostly preoccupied with religious questions, he declared that all the other gods did not exist. There was only one god, the Aten, and it was the sun itself.
It was now necessary to change his name: ‘Amenhotep’ meaning ‘the god Amun is satisfied’, because he didnt want to be associated with Amun or any of the other deities.
He renamed himself ‘Achnaton’ which means ‘servant of the Aten’ -- a much more appropriate title!
In the sixth year of his reignAchnaton also moved the capital to a brand new city called Achet-Aton (‘the Horizon of the Aten’) which was where Tel el-Amarna stands today. He did this to further isolate himself from the ‘old’ religion, since the previous capital Thebes was thecentre of worship of Amun.
This new religion created an up rise among the population and high priests. In spite of Nefertetes influence, the falling economy and religious conflict resulted in the decline of the Egyptian empire.
Hoping toforget it ever happened, people later tried to eradicate all traces of Achnaton and his successors rule by smashing their statues, mutilating their mummies, and ruining their relief carvings.
From that moment on he was remembered as the‘heretic king’.

This composition was partially funded by the ‘Prins Bernhard Cultuurfonds’.

D e Egyptische farao Achnaton was de zoon en opvolger van Amenhotep III en besteeg de troon als Amenhotep IV.
Hij regeerde van 1353 tot 1336 voor Christus.
Achnaton was nauwelijks ge?nteresseerd in politiek en handel waardoorhet Egyptische rijk onder zijn bewind in economisch verval raakte. Hij regeerde per decreet waaronder de bevolking zwaar te leiden had.
In die tijd was het gebruikelijk dat de farao’s meerdere vrouwen hadden waarvan hij eréén tot zijn hoofdvrouw koos waarmee hij zijn rijk regeerde.
Nefertete was de uitverkorene. Een zeer mooie, elegante vrouw, die met haar invloed op het harde beleid van Achnaton nog voor enige verlichting zorgde. Dit en haar aanwezigheidbij openbare presentaties leidde ertoe dat zij bij de bevolking een veel grotere populariteit genoot dan de farao zelf.
Achnaton hield zich vooral bezig met religieuze vraagstukken. Hij brak met het idee dat er meergoden zouden bestaan. Volgens hem was er slechts één god, namelijk de zon. Deze zonnegod noemde hij Aton.
Nadat deze gedachte zich bij hem had geopenbaard veranderde hij zijn naam van Amenhotep in Achnaton, hetgeen in het Egyptisch“Aton welgevallig” betekent.
In zijn zesde regeringsjaar stichtte Achnaton de nieuwe regeringszetel “Achet-Aton”, ver van de bewoonde wereld in de woestijn.
Deze stad, het huidige Tell el-Amarna in Midden-Egypte,stond geheel in het teken van de zonnegod. Deze nieuwe godsdienst stuitte op veel weerstand bij de bevolking en de priesters. De godsdienststrijd die hierdoor ontstond gekoppeld aan het economische verval zorgde, ondanks de invloedvan Nefertete, voor de ineenstorting van het Egyptische rijk als grote mogendheid.
Na de dood van Achnaton werd de regeringszetel “Achet-Aton” gebruikt als steengroeve. Zijn naam werd verwijderd van de alle bouwwerken en herinneringszuilen.

By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 576 pages. Published by Hal Leonard

Performed by Various. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Published by Hal Leonard.

Composed by Stephen Hartke. LKM Music. Softcover. Lauren Keiser Music Publishing #S410027. Published by Lauren Keiser Music Publishing (HL.156534).

Composed by Various. Piano/Vocal/Guitar Songbook. RandB, Pop. Softcover. 160 pages. Published by Hal Leonard

(Book)

SKU: HL.49046464

Book 1 Hardcover. Edited by Thomas Kohlhase. Classical, German Edition. Hardcover. 752 pages. Schott Music #ED22750-10. Published by Schott Music (HL.49046464).

UPC: 840126930801.

This complete edition, which is the first outside Russia, of the almost fourteen-year correspondence between P. I. Tchaikovsky and the music-loving patron (and wealthy widow of a Baltic railway entrepreneur) N. F. von Meck represents for German-speaking readers and music historians an indispensable primary source on the life and work of the greatest Russian composer as well as on his environment, while, at the same time, reflecting the political, cultural and social situation of the Russian Empire from the perspective of two privileged, educated and regime-loving subjects. The life of the large families Tchaikovsky-Davydov and von Meck, the unpleasant consequences of the composer's unhappy marriage, faith and religion, literature, philosophy, the reception of earlier and contemporary Russian and European music, fine arts, foreigntravel, political, economic and social conditions - even farming (in Brailov and Kamenka/Verbovka, the Ukrainian estates of the von Meck and Davydov families) and many more are the topics of this correspondence between two related and yet so different personalities who, as agreed, never met in personal conversation and yet talked to each other in lively, often confessional speech. The texts of the letters in the present edition (whose planning dates back to the 1950s), with the added contrasting excerpts from letters of Tchaikovsky to other persons, such as his trusted brothers Anatoly and Modest, have been revised according to the new Russian Complete Edition by Polina Vajdman (Celjabinsk 2007 ff.). Various introductions, accompanying texts and overviews as well ascomprehensive indices (one of them systematically by subjects), together with numerous explanations and notes at the bottom of the pages, make it easier for the reader to find his/her way through the more than 1,200 documents (281 of which are in Volume I). Volume II of the edition, which is also available for subscription, is scheduled for publication in autumn 2021 and Volume III one year later.

Alphorn & strings

SKU: HH.HH430-FSP

Composed by Leopold Mozart. Edited by Frances Jones. Alphorn & Strings. Full score and parts. Duration c.11'. Edition HH Music Publishers #HH430-FSP. Published by Edition HH Music Publishers (HH.HH430-FSP).

ISBN 9790708146322.

A pastorella (the Latin pastores means shepherds) had evolved during the eighteenth century as a work to be incorporated into midnight Mass that dramatised the role of the sheperds in the Nativity story, recounting their wonder at receiving the news of the holy birth in their fields from the angel and their arrival at the stable with gifts for the baby Jesus. It was a popular genre for 150 years in the eastern parts of the Austro-Hungarian empire. The horn-call motifs of the village herdsman, used to round up his cattle in the mornings, were frequently part of the composition: so indeed was the instrument itself, in order to enhance the realism of the scene.

SKU: HL.49046901

Book 2, 1879-1881 Hardcover. Edited by Thomas Kohlhase. Edition Schott. Classical, German Edition. Hardcover. Schott Music #ED22750-20. Published by Schott Music (HL.49046901).

UPC: 196288075271.

This complete edition, which is the first outside Russia, of the almost fourteen-year correspondence between P. I. Tchaikovsky and the music-loving patron (and wealthy widow of a Baltic railway entrepreneur) N. F. von Meck represents for German-speaking readers and music historians an indispensable primary source on the life and work of the greatest Russian composer as well as on his environment, while, at the same time, reflecting the political, cultural and social situation of the Russian Empire from the perspective of two privileged, educated and regime-loving subjects. The life of the large families Tchaikovsky-Davydov and von Meck, the unpleasant consequences of the composer's unhappy marriage, faith and religion, literature, philosophy, the reception of earlier and contemporary Russian and European music, fine arts, foreigntravel, political, economic and social conditions - even farming (in Brailov and Kamenka/Verbovka, the Ukrainian estates of the von Meck and Davydov families) and many more are the topics of this correspondence between two related and yet so different personalities who, as agreed, never met in personal conversation and yet talked to each other in lively, often confessional speech. The texts of the letters in the present edition (whose planning dates back to the 1950s), with the added contrasting excerpts from letters of Tchaikovsky to other persons, such as his trusted brothers Anatoly and Modest, have been revised according to the new Russian Complete Edition by Polina Vajdman (Celjabinsk 2007 ff.). Various introductions, accompanying texts and overviews as well ascomprehensive indices (one of them systematically by subjects), together with numerous explanations and notes at the bottom of the pages, make it easier for the reader to find his/her way through the all in all more than 1,200 documents. The three volumes are also available for subscription.

(solos: SMez(S)MezMezATTTTTTBarBa rBBBBBB - choir: SSAATTBB. child ch - 3(picc).2(cor ang).2.2 - 4.2.3.1 - timp.perc(4) - hp - pno(4ms) - str / stage music: trp)

SKU: BR.BES-3089

And Final Version (1872/74) - Opera in 4 Acts and Prologue. Composed by Modest Mussorgskij. Arranged by Pawel Lamm. Softcover. Bessel, London. Opera; Music theatre; Romantic. Libretto. 48 pages. Breitkopf and Haertel #BES 3089. Published by Breitkopf and Haertel (BR.BES-3089).

ISBN 9790004610022. 0 x 0 inches.

Duration: full evening
Text by the composer after Alexander Pushkins Dramatic Chronic of Tsars Boris and Grishka Otrepiev and Nikolai Karamsins History of the Russian Empire
Translation: German (M. Hube), Engl. (D. Lloyd-Jones)
Place and time: Moscow and environment, Court of the Novodevichy Monastery, Tshudov Monastery, Roadside Inn near the Lithuanian frontier, Tsar's Chamber in Kremlin, Castle of Sandomir, Kromy Forest, 1598-1605

Characte rs: Boris Godunov (baritone) - Feodor and Xenia, his Children (mezzo-soprano, soprano) - Wet Nurse Xenias (alto) - Prince Wassily Ivanovitch Shuisky (tenor) - Andrej Schtschelkalov, Secret Scribe (baritone) - Pimen, Chronic Scribe (bass) - Grigory Otrepiev, later Dmitry (tenor) - Marina Mnischek, Wojewoden von Sandomir's Daughter (mezzo-soprano) - Rangoni, Secret Jew (bass) - Varlaam and Missail, escaped Monks (bass, tenor) -Roadside Inn Landlady (mezzo-soprano) - A Simpleton (tenor) - Nikititsh, Church Advocate (bass) - a Boyar (tenor) - Boyar Chrushtschov (tenor) - Mitjucha, Farmer (baritone) - Lowitzki and Tschernjakowski, Jesuits (basses)

The Original version of 1868/69 consists of seven scenes in one prologue and three acts: 1. Courtyard of the Novodevichy monastery - 2. Square in the Kremlin. Coronation scene. - 3. Pimen's cell in the Chudov monastery - 4. Inn scene - 5. A room in the Czar's apartments in the Kremlin - 6. Outside St. Basil's Cathedral - 7. Council of Boyars. Death of Boris.

When the work was rejected by St. Petersburg's Mariinsky Theater Mussorgsky followed the advice of friends and revised the opera. In the Final version of 1871/72 he expanded the fifth scene scrapped the sixth and added three new scenes so that the opera now consisted of nine scenes in one prologue and four acts:

1.- 4. see 1868/69 - 5. A room in the Czar's apartments in the Kremlin - 6. Marina's boudoir in Sandomir - 7. Palace park in Sandomir - 8. Council of Boyars. Death of Boris - 9. In the forest of Kromy (Revolution scene)

The score published under the supervision of Pavel Lamm in the Complete Edition (1928) and the piano reduction (1931) contain the parts of both versions transmitted in score as well as in the piano reduction all the changes made by Mussorgsky in his piano reduction of 1874. The performance material can thus be used for a production of either the original version or the final version according to need.

Drum Kit - very easy, easy

SKU: BT.DHP-0991531-400

Composed by Arjen Oosterhout. Educational Tool. Book with CD. Composed 1999. 28 pages. De Haske Publications #DHP 0991531-400. Published by De Haske Publications (BT.DHP-0991531-400).

ISBN 9789043104289. Italian.

Il metodo di batteria Real Time Drums i è una collezione efficace e appassionante concepita da Arjen Oosterhout, batterista, compositore e insegnante emerito. Le due raccolte del metodo (la seconda non è ancora disponibile in italiano), propongono nuovi ritmi e schemi di batteria sviluppati a partire da esercizi di tecnica immediatamente applicati a stili quali il rock ed il funk. Ogni esercizio è corredato di indicazioni relative allâ??interpretazione, rispettando uno spazio per lâ??improvvisazione. I metodi sono completati dal CD sul quale sono incise una versione integrale di ogni esercizio seguita da una versione senza accompagnamento per mettere in praticale tecniche apprese. Real Time Drums 10 brani e Real Time Drums More Great Grooves sono i complementi ai relativi metodi. I ritmi e i fills presentati nei metodi, vengono elaborati in questi due libri. Le parti di batteria comprendono indicazioni relative allo stile del brano. Queste indicazioni servono come punto di partenza per mettere il batterista sulla buona strada. Spetter poi a lui riempire gli spazi lasciati liberi per creare una propria â??storiaâ?. Con la collezione Real Time Drums, la creativit e il proprio bagaglio musicale si arricchiscono!

Drum Kit

SKU: BT.DHP-0991530-400

Metodo base per batteria. Composed by Arjen Oosterhout. Educational Tool. Book with CD. Composed 1999. 64 pages. De Haske Publications #DHP 0991530-400. Published by De Haske Publications (BT.DHP-0991530-400).

ISBN 9789043104296. Italian.

Il metodo di batteria Real Time Drums i è una collezione efficace e appassionante concepita da Arjen Oosterhout, batterista, compositore e insegnante emerito. Le due raccolte del metodo, propongono nuovi ritmi e schemi di batteria sviluppati a partire da esercizi di tecnica immediatamente applicati a stili quali il rock ed il funk. Ogni esercizio è corredato di indicazioni relative allâ??interpretazione, rispettando uno spazio per lâ??improvvisazione. I metodi sono completati dal CD sul quale sono incise una versione integrale di ogni esercizio seguita da una versione senza accompagnamento per mettere in pratica le tecniche apprese. Real Time Drums - 10 brani e RealTime Drums More Great Grooves sono i complementi ai relativi metodi. I ritmi e i fills presentati nei metodi, vengono elaborati in questi due libri. Le parti di batteria comprendono indicazioni relative allo stile del brano. Queste indicazioni servono come punto di partenza per mettere il batterista sulla buona strada. Spetter poi a lui riempire gli spazi lasciati liberi per creare una propria â??storiaâ?. Con la collezione Real Time Drums, la creativit e il proprio bagaglio musicale si arricchiscono!