By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

Alfred's Basic Adult Piano Course Lesson Book, Book 1 by Willard A. Palmer, Morton Manus, and Amanda Vick Lethco. For Piano. Method/Instruction; Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Book and CD. 112 pages. Published by Alfred Music Publishing

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

(Vocal Score). By Alan Jay Lerner and Frederick Loewe. Vocal Score. Softcover. 196 pages

Composed by Danny Elfman. Piano Solo Composer Collection. Movies. Softcover. 144 pages. Published by Hal Leonard

Chamber Music Clarinet, Piano, Violin

SKU: PR.164002390

Composed by Dan Welcher. Set of Score and Parts. With Standard notation. Composed 1995. 26+14+14 pages. Duration 14 minutes. Theodore Presser Company #164-00239. Published by Theodore Presser Company (PR.164002390).

UPC: 680160038091.

I became interested in the work of Plato through my friend and collaborator, the writer and philosopher Paul Woodruff. Paul's new translation, with Alexander Nehamas, of the Symposium gave me insights into ancient Greek ways of thinking about Love, Beauty, and Wisdom -- and managed to keep the earthy, and often bawdy side of it all in full view. But their new translation of Plato's later dialogue Phaedrus went even further: the beauty of the speeches is breathtaking, and the discourse itself is enough to keep one awake at night. Basically the Great Speech of Socrates in the Phaedrus dialogue has to do with the place of Eros in the world, and with the conflict in the soul between fleshly pleasure and philosophic discovery. I will not attempt to encapsulate this brilliant discourse in a program note: suffice it to say that reading it gave rise to my two-sided work for clarinet, violin, and piano, Phaedrus. The first movement represents the Philosophic life, and is thus subtitled Apollo's Lyre (Invocation and Hymn). It begins with an unaccompanied melody for the clarinet, which (after a pair of harp-like flourishes for the piano, expands into an accompanied canon. The voices in the dialogue (clarinet and violin) follow each other by a prescribed number of beats, but the music is totally devoid of any meter at all. The piano, representing the lyre, accompanies this lyric love-feast with repeated strummed chords. The canon has three large sections, and ends with violin echoing the unaccompanied clarinet invocation as the sound of the lyre fades. The second movement, called Dionysus' Dream-Orgy (Ritual Dance) presents, after a brief introduction, another kind of unmetered music. Rather than long lyric flights of philosophic song, however, this time we hear a unison dance of unbridled energy and sensual transport. The piece soon forms itself into a loose arch form, with contrasting metered dance sections divided by the unison unmetered orgy tune. Midway through the movement, Apollo's melody returns from the first movement, but it is a temporary reminiscence. The orgiastic dance returns, reaches a climax, and ends with a stomping of feet. While Plato asserts that a proper balance between lust and reason is necessary in all men, he (naturally) gives the nod to Philosophy as the better choice in which to live. Not so in my music: the two sides are meant to coexist and to complement each other. No sides are taken. Phaedrus was commissioned of the Verdehr Trio by Michigan State University. It is dedicated to the Vedehr Trio with great affection and admiration.

By Various. For Voice, Piano. Level: Grade 2. CD/DVD. Published by ABRSM (Associated Board of the Royal Schools of Music).

Piano

SKU: BA.BA05529

Dances I. Composed by Franz Schubert. Edited by Walburga Litschauer. This edition: complete edition, urtext edition. Linen. New Schubert Edition (Neue Ausgabe samtlicher Werke) Series VII, Volume 2, No. 6. Complete edition, Performance score, anthology. Baerenreiter Verlag #BA05529_00. Published by Baerenreiter Verlag (BA.BA05529).

ISBN 9790006472246. 33.1 x 26 cm inches.

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

Vocal Score. By Jerry Bock, Sheldon Harnick. Vocal Score. Size 9x12 inches. 184 pages. Published by Hal Leonard.

Piano

SKU: HL.14001903

Composed by Per Norgard. Music Sales America. Classical. Book [Softcover]. Music Sales #KP00981. Published by Music Sales (HL.14001903).

ISBN 9788759859605. Danish.

Animals In Concert - Three pieces for Piano solo by Per Norgard. Programme Note  1. A Tortoise's Tango (1984) - dur.: 4'  2. Light of a Night - Paul meets bird (1989) - dur.: 6'  3. Hermit Crab Tango - Esperanza (1997) - dur.: 5'   The pieces can be performed together or one by one. In the1980s, quite a few finds turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes:  A Tortoise's Tango: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango.  Tortoise Tango was the original title of this piece, written for Achilles (the pianist Yvar Mikhashoff), for his so called tango project, including new tangos for piano by composers from all over the world.  Light of a Night (Paul meets bird) was commissioned by pianist Aki Takahashi. It is a reworked arrangement for piano of the Beatles song Blackbird. As some of us will recall, the Beatles on The White Album let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in Light of a Night weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?).  Hermit Crab Tango (Esperanza): The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a tango pattern - sharp as a cactus - through which the tune, optimistic, slips to its new shelter. I have borrowed the tune from songwriter Hanne Methling's Introduction: 'I want to get through this time!' she sings in a ecstatically ascending melody line - and I believe that these words must correspond very well to the mood of the hermit crab: 'Esperanza'- the green runners of hope wind among the latticework formed by the tango rows.

(pf,str)

SKU: TM.13888SET

Composed by Henry Purcell. Arranged by Brown. Set Type: D. Set of parts. Published by Lucks Music Library (TM.13888SET).

Piano in score only. Overture, Introduction to Act II, Lively Dance, Hornpipe I, Hornpipe II, Symphony (Britannia rises), The Grand Dance.

(pf,str)

SKU: TM.13888SC

Composed by Henry Purcell. Arranged by Brown. Score. Published by Lucks Music Library (TM.13888SC).

Piano in score only. Overture, Introduction to Act II, Lively Dance, Hornpipe I, Hornpipe II, Symphony (Britannia rises), The Grand Dance.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Violin

SKU: FG.55011-598-9

Violin tutor. Classical, pedagogical. Book. Fennica Gehrman #55011-598-9. Published by Fennica Gehrman (FG.55011-598-9).

ISBN 9790550115989.

The volume G of the popular Colourstrings violin tutors by Géza Szilvay studies every position of the violin in a separate volume: G1 the second position, G2 the third position, G3 the fourth position, G4 the fifth position and the last one, G5, the high positions (sixth and seventh). These books form an all-embracing, rich collection of shifting exercises, position playing studies, excerpts from the literature, chamber music (mainly duos), and performing pieces, piano accompaniment offered as a separate publication (Books G1, G2 & G2 supplement 9790550116467; Books G3 & G4 9790550116931 and Book G5 9790550116948).

Th e extensive Book G5 - Sixth and Seventh Position (9790550116948) follows the key principles of Colourstrings methodology - the use of natural harmonics and constant developing of inner hearing for instance - but it can be fully utilized also without any previous use or knowledge about the Colourstrings method. The innovative and unique visual presentation of the “house of the positions and preparatory exercises for the challenging passages help the young and older students to fully understand, why and where the different positions are needed. The performance pieces with piano accompaniment in the Book G5 (alphabetical order):
Bériot, Charles de: Air varié
Bohm, Carl: Introduction and Polonaise
Brahms, Johannes: Hungarian Dance No. 5
Dancla, Charles: Second Solo
Drdla, Frantisek: Souvenir
Glazunov, Alexander: Spanish Serenade
Kodály, Zoltán: Kallo Double Dances I-III
Kuula, Toivo: Chanson sans paroles
Mozart, Wolfgang Amadeus: Minuet
Pergolesi, Giovanni Battista: Siciliana
Pugnani-Krei sler: Tempo di Minuetto
Rachmaninov, Sergei: Vocalise
Sibelius, Jean: Romance
Sonninen, Ahti: Karelian Dance
Wieniawski, Henryk: Mazurka
Žilinskis, Arvīds Mazurka

Duos for two violins in the Book G5:
B. Campagnoli: Duo (Andantino)
F. J . Mazas: Duos in six positions (Moderato)

Excerpt s from the violin literature: Prokofieff - Bartók - Tartini - Rachmaninoff - Bériot - Pugnani - Rode - Weiner - Schubert - Dancla - Rieding

More about the Colourstrings method: https://www.fennicagehrma n.fi/sheet-music/colourst rings/.

(String orchestra)

SKU: BA.BA08830

Composed by Edvard Grieg. Edited by Christoph Rinne-Schroeder. This edition: urtext edition. Stapled. Score. Opus 40. Baerenreiter Verlag #BA08830_00. Published by Baerenreiter Verlag (BA.BA08830).

ISBN 9790006567621. 31 x 24.3 cm inches. Preface: Rinne-Schroeder, Christoph.

To celebrate the 200th birthday of the playwright Ludvig Holberg, a statue was erected in his honour in 1884. Edvard Grieg, who, like Holberg, was born in Bergen, was commissioned to write an open-air cantata for the ceremony. But he also refers to Holberg in his instrumental music. The result was a “powdered wig piece” (as Grieg wrote to his publisher) that hearkens back to Holberg’s era – a historicising suite of baroque dances for piano, ranging from an exhilarating prelude and several dance numbers to a Bachian “air” and an impetuous “rigaudon”.
Later Grieg arranged his “Suite in the Olden Style” for string orchestra. This version became one of his most popular compositions.

For our new scholarly-critical edition Christoph Rinne-Schroeder has meticulously examined the original print and compared it with previously neglected performance material annotated by Grieg himself.

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

Band Wind Ensemble

SKU: PR.115402010

For Wind Ensemble. Composed by Chen Yi. Sws score. Premiered by Lewis J. Buckley, conductor, at the National Heritage Museum in Lexington, MA. Contemporary. Score and Parts. With Standard notation. Composed 2007. 4+8+32+32+4+4+4+16+4+16+1 6+8+8+8+8+4+12+12+12+4+4+ 4+4+8+8+8+4+4+4+4+16+4+4+ 4+4+2+72+2+228+52 pages. Duration 13'. Theodore Presser Company #115-40201. Published by Theodore Presser Company (PR.115402010).

ISBN 9781491102220. UPC: 680160582723. 9 x 12 inches.

Chen's dynamic work for two pianos has now been scored for wind ensemble! Chen uses folk music of western China as her foundation, as indicated by the movement titles: I. Introduction, II. Meng Songs, III. Zan Songs, and IV. Miao Dances. Commissioned by the Metropolitan Wind Symphony (Lawrence Isaacson, Music Director), and premiered in May 2008 at National Heritage Museum, Lexington, MA (Lewis J. Buckley, Conductor).

2 solo tubas and big band (4 trumpets, horn, 3 tenor trombones, bass trombone, 2 alto saxophones, tenor saxophone, baritone saxophone, piano, marimba, vibraphone (xylophone), bass guitar and drum set) - Grade 5-6

SKU: ET.TU132D

Composed by Roland Szentpali. Jazz. Study score and solo part(s). Editions BIM #TU132D. Published by Editions BIM (ET.TU132D).

ISBN 9790207020833.

3 Dances is a Suite in three movements for 2 solo tubas and big band (2 alto saxophones, tenor saxophone, bariton saxophone, 4 trumpets, horn in F, 3 trombones, bass trombone, xylophone, vibraphone, marimba, piano, bass guitar, drum set) written in 3 movements.
It is a typical example of the versatile composing talent of Roland Szentpali. His approach to jazz is well structured, with subtle fast or slow groovy sequences of the different instrumental and rhythm sections, stimulating (and how !) the two solo tubas interacting with each other.
I. Blow On Fire starts with a free cadenza that is an introduction merging into fast elements which appear all along this movement. The two tubas start to play once the melodic elements burn, and from then develop their own dynamic shifts.
II. Oriental Flavors is another kind of groove (as the movement title suggests), beginning with a short opening of the trombone section falling into secco rhythm that beats in contrasts with the stimulating lyrical intervention by the two tubists.
III. Cinder Dance has a specific introduction that leads the musicians and the audience on the path of various trances over several uneven time signatures. At a certain point, the 2 tubas fly through cadencial sequences just over the rhythm section, before ending on a long collective and steamy final progression.

World premiere and recording premiere: May 13-14, 2017 in the L. Austin Weeks Center for Recording and Performance at the Frost School of Music, University of Miami - Coral Gables, Florida, USA with the award winning Frost Concert Jazz Band conducted by John Daversa, and soloists Aaron Tindall and Roland Szentpali on tuba.

2 solo tubas and big band (2 alto saxophones, tenor saxophone, baritone saxophone, 4 trumpets, horn, 3 tenor trombones, bass trombone, xylophone, vibraphone, marimba, piano, bass guitar, drum set) - Grade 5-6

SKU: ET.TU132C

Composed by Roland Szentpali. Jazz. Parts. Editions BIM #TU132C. Published by Editions BIM (ET.TU132C).

ISBN 9790207020826.

3 Dances is a Suite in three movements for 2 solo tubas and big band (2 alto saxophones, tenor saxophone, bariton saxophone, 4 trumpets, horn in F, 3 trombones, bass trombone, xylophone, vibraphone, marimba, piano, bass guitar, drum set) written in 3 movements.
It is a typical example of the versatile composing talent of Roland Szentpali. His approach to jazz is well structured, with subtle fast or slow groovy sequences of the different instrumental and rhythm sections, stimulating (and how !) the two solo tubas interacting with each other.
I. Blow On Fire starts with a free cadenza that is an introduction merging into fast elements which appear all along this movement. The two tubas start to play once the melodic elements burn, and from then develop their own dynamic shifts.
II. Oriental Flavors is another kind of groove (as the movement title suggests), beginning with a short opening of the trombone section falling into secco rhythm that beats in contrasts with the stimulating lyrical intervention by the two tubists.
III. Cinder Dance has a specific introduction that leads the musicians and the audience on the path of various trances over several uneven time signatures. At a certain point, the 2 tubas fly through cadencial sequences just over the rhythm section, before ending on a long collective and steamy final progression.

World premiere and recording premiere: May 13-14, 2017 in the L. Austin Weeks Center for Recording and Performance at the Frost School of Music, University of Miami - Coral Gables, Florida, USA with the award winning Frost Concert Jazz Band conducted by John Daversa, and soloists Aaron Tindall and Roland Szentpali on tuba.

by Costel Puscoiu. For Recorder (Soprano). solos. Classic. Level: Intermediate. Book. Size 8.75x11.75. 96 pages. Published by Mel Bay Publications, Inc.

Arranged by Simon Lasky. Recorder. Book. Published by Kevin Mayhew Publishers (U.K. Import).
Level: Intermediate.

Orchestra String Sextet, Piano - Grade 2

SKU: CF.YAS99F

Composed by Larry Clark. FS SWS. Carl Fischer Young String Orchestra Series. Full score. With Standard notation. 12 pages. Duration 3 minutes, 25 seconds. Carl Fischer Music #YAS99F. Published by Carl Fischer Music (CF.YAS99F).

ISBN 9780825884191. UPC: 798408084196. 8.5 x 11 inches.

Dance of the Harlequins is a lively work that uses the harmonic progression of the famous Pachelbel Canon as its foundation. Larry Clark uses this line as a jumping-off point to create an ingenuous work that shows the many moods of the Harlequin clown, from joyous to melodramatic.
When I started to write this piece I came up with the main melody first, then I harmonized it. In the process of doing that I realized that I was composing a new piece that was based on the harmonic progression found in the famous Canon by Johann Pachelbel. At first this sort of worried me, but then by doing a little research on the famous canon, I realized I was far from alone. There is even an incredibly funny YouTube video called “Pachelbel Rant” where comedian Rob Paravonian points out many of the usages of the chord progression from Pachelbel’s Canon found in many popular/rock songs. Watch it if you get a chance it is very funny! So, I decided to forge ahead and complete the piece.After the main theme begins without introduction that includes short punctuations of the harmony in the lower strings, the main theme is repeated with a countermelody playedby the violas. The cellos then take up a new B theme with the countermelody to this section covered by the first violins. The main theme with counter melody is stated one more time before it is followed by a transition to a more lyrical and augmented theme that is first presented in the violas. This theme repeats now with the melody in the first violins and a countermelody added in the violas. One more statement of the lyrical section theme is presented, but now the celli state the original main theme in augmentation along with the lyrical theme and countermelody. This is followed by an extended transition that leads back tot the B section theme now presented in the violins. After an extended cadence and build, the main theme returns one last time followed by a lively coda to complete the piece.There is something about the use of this famous chord progression that just makes it feel so right. I hope that I did justice to it and provided you and your students with a musical vehicle that will be enjoyable and at the same time educational.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—LARRY CLARKLakeland, FL 2011.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str)

SKU: BR.DV-6081

Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081).

ISBN 9790200460032. 9.5 x 12 inches.

Duration: full evening

Translation : German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines)
Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century

Characters : Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )

There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.

Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.

Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.

Nebe n der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.

Tchaikovsky 's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.

The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.

In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.

Piano/Vocal/Guitar

SKU: HL.120772

By Various. Piano/Vocal/Guitar Songbook. Music Business, Pop, Pop Reference. Softcover. 288 pages. Published by Hal Leonard (HL.120772).

ISBN 9781480350519. UPC: 884088917463. 9.0x12.0x0.687 inches.

55 song highlights from the history of ASCAP, celebrating their representation of some of the best songwriters of all time. Songs include: Ah! Sweet Mystery of Life * Ain't No Mountain High Enough * As Time Goes By * At Last * Before He Cheats * Bleeding Love * Blue Skies * Defying Gravity * Gonna Make You Sweat (Everybody Dance Now) * I Will Survive * Just the Way You Are * Livin' on a Prayer * Moon River * My Funny Valentine * Over the Rainbow * Raindrops Keep Fallin' on My Head * Single Ladies (Put a Ring on It) * Someone to Watch over Me * Tenderly * The Way We Were * We've Only Just Begun * You Are the Sunshine of My Life * and more. Includes an introduction by ASCAP, a foreword by Paul Williams, song notes by decade, plus photos!

Vocal solos, choir, orchestra (Alto Voice Solo, 17speaker, SATB Choir, ballet, 2 Fl, 2 Ob, 2 clarinet, 2 bassoon, 4Hn, 2 Trp, 3trombone, timpani, 2 Violin, Viola, Cello, Double Bass)

SKU: BA.BA05570-01

Romantic drama in four acts. Composed by Franz Schubert. Edited by Christine Martin and Walther Durr. This edition: complete edition, urtext edition. Linen. New Schubert Edition II, 9. Complete edition, Score. D 797. Duration 50 minutes. Baerenreiter Verlag #BA05570_01. Published by Baerenreiter Verlag (BA.BA05570-01).

ISBN 9790006497386. 33 x 26 cm inches. Language: German. Preface: Christine Martin. Text: Helmina von Chezy.

On 20 December 1823 Helmina von Chezy'sRosamundereceived its premiere performance at Vienna's Theater an der Wien.
Unfortunately the Viennese version of this drama with ghosts, pirates, attempted poisonings and other horrifying ingredients has not survived - unlike Schubert's popular incidental music which also includes choruses and dances. This music was already highly praised by contemporary critics, with special acknowledgment given tothe genius of this much-loved master. As evidence of its popularity, the overture and theHunters' Chorushad to be encored at the premiere.

Now Barenreiter is issuing one of Schubert's best-known compositions in a complete vocal score with 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

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS153

Composed by Peter Terry. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+10+16+4+10+3+5+12 pages. Duration 3 minutes, 2 seconds. Carl Fischer Music #YAS153. Published by Carl Fischer Music (CF.YAS153).

ISBN 9781491143629. UPC: 680160901128. Key: D major.

Black Mast conjures images of a dramatic life on the high seas of a pirate captain and crew. The music is in minor with angular melodies and contrast created through changes in tempo. A maestoso presentation of the theme leads to a dramatic conclusion.
Black Mast conjures images of a dramatic life on the high seas in the service of a pirate captain and crew. The work opens with a dramatic introduction, followed by the main theme at m. 9. At m. 17 a secondary theme related to the primary melody emerges; the primary theme reappears at m. 25 in the violas and cellos. A briskersecond theme, at a faster tempo, derived from the introduction emerges in m. 33. This second theme alternates with a lyrical courtly dance theme beginning in m. 45. This section reflects the non-combative aspects of life at sea and the joy of moving before the wind. At m. 73 the piece returns to the vigorous first theme andthe secondary theme from m. 17 leading to a dramatic, swashbuckling ending.Care should be taken to contrast the robust music of the primary themes and the more dance-like music of the middle section. I am privileged to be able to share this work with you and your students. I hope that it serves to both entertain and educate.—Peter TerryBluffton, Ohio 2016.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels