Written in the year 1775, Mozart's lively violin concerti manifest the young composer's astonishing maturity and command of his craft. An incredible fluency of musical speech ? richness of texture and sheer beauty of melodic line pervade this music (Veims, The Concertos). Indeed, the concerti are the composer's earliest compositions that have maintained a secure position in the world's repertoire. Also a staple of the concert hall is the Sinfonia Concertante, K.364, composed in 1779, and scored for violin, viola, and orchestra. Undoubtedly the most significant work Mozart composed that year, the piece is distinguished by its symphonic sweep, advanced harmonies, and the beautiful slow movement, among Mozart's most moving creations. Now all six masterpieces are available in this convenient, inexpensive edition.

Fine Day? is a work for unaccompanied double bass that portrays a conversation between two Hirta wifies perhaps meeting by chance while going about their daily lives. The first lady is older calm and serene - she's seen it all before and expects to see nothing new. In bar 9 a younger lady appears - much more animated and excited and bursting with gossip.The characters converse with a double bar and often a tempo change indicating the change of speaker. While the younger lady becomes very animated (and slightly frustrated) trying to ply her elder with today's juiciest gossip the older lady remains calm and serene apparently showing little interest untilthe final bars where after her neighbour has walked away she smiles and we see that she was listening after all...Skerry Selkie: 'Skerry' is an old Norse word for a small rocky island in the sea. Most Skerries are populated only by birds and seals. 'Selkie' is a local dialect word used right along the north coast of Scotland to describe seals. It also refers to a creature of Norse myth which could transform from seal to human form at will. Selkies like mermaids would mischievously enchant sailors with their beautiful singing...

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Edition no.:BA9695 ISMN:9790006536580 Volume / Series:Bärenreiters Cello Collection Editor:Sassmannshaus, Christoph Instrumentation of the work:Violoncello, Piano Product format:Piano reduction, Part(s), Teaching material Includes the following individual parts:Violoncello, Piano Binding:Stapled Pages / Format:32/64 S. - 30,0 x 23,0 cm In the line with the series Bärenreiter's Concert Pieces which comprises editions geared towards young violinists, we are now publishing a separate collection for young cellists playing their first concerts. This edition contains 18 easy-to-learn concert pieces from the Baroque, Classical and Romantic periods including Dvorák?s Humoresque , Mendelssohn Bartholdy?s Song without Words , Fauré?s Berceuse and The Swan by Camille Saint-Saëns. The editor is Christoph Sassmannshaus, the grandson of the founder of The Sassmannshaus tradition , Egon Sassmannshaus. - Pieces for solo cello with piano accompaniment - Easy to medium difficulty - Ideal repertoire for cellists who have completed Early Start on the Cello, volumes 3 and 4 (BA 8998, BA 8999) A selection: Simonetti, Madrigal / Beethoven, Minuet / Dvorák, Humoresque / Wolf, Wiegenlied / Goltermann, Notturno / Klengel, Sarabande / Mendelssohn Bartholdy, Song without Words / Fauré, Sicilienne / Saint-Saëns, The Swan

This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery this publication is essential for pianistsinterested in the work of the Hungarian composer.When Bartók?was just 23 years old he visited the Transylvanian town of?Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named LidiDósa he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work. Romanian FolkDances?remains one of Bartók's most popular and enduring works evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on atraditional melody which Bartók?penned during his travels.? Including newly engraved masterpieces?Stick Dance Waistband Dance In One Spot Dance From Butschum Romanian Polkaand Fast Dance this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidancethroughout. Romanian Folk Dances also?features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguingbackstory of this work.? One of the most important 20th century composers and along with Liszt one of Hungary's finest musical minds Bartók?held a strong fascination for folkmusic. Through his studies recordings and arrangements he composed some incredible music like these?Romanian Folk Dances ?while simultaneously initiating the field of

27 Unison Songs for Young Singers-Learn all about animals from A to Z with these 27 adorable unison songs for young singers. From the Absent Minded Alligator to the Zany Zebra young singers will be both tickled and charmed by these informative and whimsical songs. This collection is 100% reproducible and is perfect for both the classroom and the stage! Recommended for grades K-5. 100% reproducible. Suggestions for additional activities and 'About the Animals' information included. Chord symbols included. Can be used as a songbook or a program (approximately 30 minutes).

This brand new edition presents Béla Bartók?s Mikrokosmos a progressive cycle of 153 studies for Piano in a single volume for the first time. Designed to illustrate the musical and technicalprogressions suitable for beginner to advanced players this complete collection is invaluable for every pianist. All six volumes of Mikrokosmos are presented here exactly as the composer intended them.Featuring beginning études through to technical tours de force this unique publication also contains an extensive introduction Bartók's original preface and photography throughout. The initial piecesconsolidate a balanced technique ideal for students working towards Grade 1. The cycle advances through fundamentals such as hand co-ordination musicality aural skills and ensemble-playing taking the pianist to the complexGrade 8 level pieces found towards the end of the collection. Already accomplished players will find a wealth of material to enjoy as sight reading practice and concert pieces making this a versatile collection as well as aninsight into the mind and work of a great composer. Mikrokosmos evolved from the Piano lessons that Bartók gave to his own 9-year old son. Studies were written on the spot for young Peter Bartókto learn by next time. Over time the 153 pieces took form and they are collected here for beginner and advanced pianists to benefit from. Mikrokosmos lets students and teachers explore Bartók?sendlessly imaginative and inventive musical world as they develop their pianistic skills.

Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

Warmups Ostinati Rounds and Kids' Songs-Did you hear? Music W.O.R.K.S.! It does that is if you have the right tools to use with your students. This 'musical tool chest' is all about what W.O.R.K.S - Warm-Ups Ostinati Rounds and Kid's Songs. Within these pages you'll find many resources needed to build young musicians and a successful presentation. There are eight programmable songs in addition to a warm-up ostinati and round to vocally prepare for each song. Use all these ideastogether to create a production or offer them separately for in-class learning fun. Accompany them on the piano or use the convenient and quality accompaniment CD for hands-free teaching - there are so many choices. But wait!There's even more. The “W” section includes warm-ups to help students remember educational things and warm-ups for everyday use. The “O” section presents ostinati for instruments body percussion andvoices. The “R” section includes rounds for general use with optional Orff accompaniment as well as teaching and performance suggestions. Don't start the school year without these valuable tools and keep your studentslearning and loving music all year long! You'll see - it “works”! Available: Resource Collection (with reproducible pages) Performance/Accompaniment CD Classroom Kit (collection and P/A CD. 24 Warm-ups 16 Ostinati 14 Rounds 8 songs. For Grades 3-6.

(The Slavonic Dances)-Taken in its entirety it would be hard to overstate the enormity of Dvorák's output of excellent music and yet most young musicians are familiar with only one theme from one of his symphonies if even that. It was hisfirst set of Slavonic Dances (Op. 46) that first brought him wide recognition as a composer. In this new CMP offering two of Dvorák's delightful Czech folk-style melodies are skillfully adapted for the concert bandby James Curnow. Explore the kind of music that put Dvorák on the world stage helping to establish him as one of the key composers in the history of music.

A Holiday Musical Infestation!-The bugz are back and ready for the annual Christmas program infestation! The carpenter bees have built the sets and the silk worms have made the costumes. OH NO! The termites just chewed up the Christmas tree decorations andate the lights! (gasp) What are the bugz to do? See how some special little guests light the way to a grand finale of “The Twelve Bugs of Christmas!” Designed for young performers in Grades K-3 this musicalshow features the clever writing of John Jacobson and John Higgins with 5 songs in a variety of musical styles easy rhyming dialog with 45 speaking parts and additional non-speaking parts all adaptable to casts of varying sizes and teaching objectives linked to the National Standards for each song. Simple movement staging and costume tips are also provided to help stage a successful performance even when time is limited! Available: Teacher Reproducible Pak (vocals lyrics dialog) Preview CD (with vocals) Preview Pak (1 Preview CD and sample pages) Performance/Accompaniment CD Classroom Kit (Teacher Repro Pak P/A CD). Duration: ca. 20 minutes. Suggested forgrades K-3.

Movement Songs for the K-3 Music Classroom-Movement and music provide an excellent instructional format for teaching a broad range of musical and developmental skills. This energetic collection of 10 engaging songs will help teach the emerging young musician and provide growth to all students in a wide range of areas existing across the entire curriculum. Active listening auditory memory and discrimination gross motor skills and body awareness are all a part of the participatory songs designed with melodies and lyrics that give directives while listening. Rhythmic vocal speech adds a terrific learning experience and the comfortable vocal range allows for singing and performance as well. Piano/Vocal arrangementsare included along with digital access to performance/accompaniment audio recordings and PDFs of singer parts. Plant and nurture the seeds of learning with these imaginative original songs. Suggested for grades K-3.

A Holiday Musical Infestation!-The bugz are back and ready for the annual Christmas program infestation! The carpenter bees have built the sets and the silk worms have made the costumes. OH NO! The termites just chewed up the Christmas tree decorations andate the lights! (gasp) What are the bugz to do? See how some special little guests light the way to a grand finale of “The Twelve Bugs of Christmas!” Designed for young performers in Grades K-3 this musicalshow features the clever writing of John Jacobson and John Higgins with 5 songs in a variety of musical styles easy rhyming dialog with 45 speaking parts and additional non-speaking parts all adaptable to casts of varying sizes and teaching objectives linked to the National Standards for each song. Simple movement staging and costume tips are also provided to help stage a successful performance even when time is limited! Available: Teacher Reproducible Pak (vocals lyrics dialog) Preview CD (with vocals) Preview Pak (1 Preview CD and sample pages) Performance/Accompaniment CD Classroom Kit (Teacher Repro Pak P/A CD). Duration: ca. 20 minutes. Suggested forgrades K-3.