(Grande Sonata Pathetique). Composed by Ludwig van Beethoven (1770-1827). Edited by Norbert Gertsch and Murray Perahia. Arranged by Murray Perahia. Sheet music. Henle Music Folios. Classical. Softcover. G. Henle #HN1348. Published by G. Henle

By Ludwig van Beethoven (1770-1827). Arranged by Contorno. For woodwind quintet (flute, oboe, Bb clarinet, horn in f, bassoon (optional Bb bass clarinet)). Grade 3. Score and set of parts. Duration 2 minutes. Published by Kendor Music Inc

Piano SKU: HU.HN725 Composed by Ludwig van Beethoven. Edited by Murray Perahia and Norbert Gertsch. Piano Solo, Piano and Keyboard, Repertoire, Solos. Piano Sonata No. 15 in D major Op. 28 (Pastoral). Classical. Softcover Book. 40 pages. G. Henle #HN725. Published by G. Henle

Pastorale. By Ludwig van Beethoven. Edited by N. Gertsch. For piano solo. This edition: HN725. Piano (Harpsichord), 2-hands. Henle Music Folios. Urtext edition (Paper-bound). 40 pages. Published by Henle Urtext Edition.

(The Most Famous Melodies of All Time Arranged for Easy Guitar). For Guitar. This edition: Easy Guitar TAB. Book; Guitar Mixed Folio; Guitar TAB; Solo Guitar TAB (EZ/Int). 288 pages. Published by Alfred Music Publishing

(4 Classics Arranged for Orchestra Bells, Vibraphone, and Marimba). Composed by Ludwig van Beethoven (1770-1827). Arranged by Brian Slawson. For Mallet Percussion. Book; Percussion - Mallet Instrument Trio; Trio. Alfred�s Percussion Performance Series. Classical; Masterwork Arrangement; Romantic. 12 pages. Published by Alfred Music

Arranged by Mark Williams. Concert Band. Concert Band. Young Symphonic. Christmas; Classical; Winter. Grade 2. Conductor Score and Parts. 212 pages. Published by Alfred Music Publishing

Transcribed by R. Mark Rogers for Symphonic Wind Band. Composed by Dmitri Shostakovich (1906-1975). Edited by Mark Rogers. Southern Music. Concert. Softcover. Southern Music Company #S977CB. Published by Southern Music Company

String Quartet

SKU: HL.14031816

Composed by Jean Joubert. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV12053901. Published by Music Sales (HL.14031816).

8.5x11.75x0.3 inches.

Though conceived as four separate movements, my second string quartet has a single motif which is common to them all. This is the three-note Muss es sein? from Beethoven's last quartet, Op. 135. But whereas Beethoven's theme is notated G E A flat, thus giving it an F minor connotation, I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity, in fact, becomes the tonal basis of the whole work, only to be resolved at the end of the final movement. Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme, while the second has a majorised version which is also expressed as a chord. The third movement, with its scherzoid middle section, reverts to the major-minor ambiguity of the first, and the finale begins with the majorised version as an ostinato accompaniment on pizzicato cello. The slow movement is sub-titled In memoriam DSCH and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note. This is not to imply that the work contains no other thematic material. One important theme, a rising fifth and a second, is also common to three of the movements, and is ultimately derived from my first quartet, Op. 1 of 27 years earlier, to which this second contribution to the form is in many ways like a sequel. Like the earlier work, too, this quartet is dedicated to my wife.

By Donald Martino (1931-2005). For Violin, Violin, Viola, Cello. This edition: Study Score. Contemporary Classical. Conservatory. Sheet music

Choir Secular

SKU: AP.51093

(Symphony No. 5 in C Minor). Composed by Ludwig van Beethoven. Arranged by Tom Anderson. This edition: SoundTrax CD. Choral Octavo; Performance Music Ensemble; Single Titles. Alfred Choral Designs. Classical; Masterwork Arrangement; Novelty; Secular. CD. Alfred Music #00-51093. Published by Alfred Music (AP.51093).

UPC: 038081581309. English.

Beethoven' s greatest hit is reimagined with a funky twist that your singers won't be able to resist! Its iconic short-short-short-long hook springboards into a rhythmic groove, complete with clapping, snapping, and vocal syllables that imitate a rock band. It's a novelty nod to one of the greatest composers of all time!

Orchestra String Orchestra - Grade 1.5; Grade 2

SKU: FJ.ST6513

Composed by Brian Balmages. Series; String Orchestra. FJH Beginning Strings. Score and Part(s). The FJH Music Company Inc #98-ST6513. Published by The FJH Music Company Inc (FJ.ST6513).

UPC: 241444420522. English.

A great complement to the composer's popular work A Beethoven Lullaby, this original piece pays homage to Beethoven's fifth symphony, immersing students in the style of the first movement without feeling like they are playing a watered-down arrangement. Conductors will surely notice the many nods (both subtle and not so subtle) to Beethoven's masterpiece while also exploring original themes.

About FJH Beginning Strings

Ap propriate for first year string students. All instruments stay in first position, and optional third violin (viola) parts and piano are included to aid in rehearsal and performance situations. Grade 1 - 1.5

This edition: Piano/Vocal/Chords. P/V/C Mixed Folio. Essential Home Library Series. (Wolfgang Amadeus Mozart) * Moonlight Sonata (First Movement). Level: (Ludwig van Beethoven) * Ode to Joy (Ludwig van Beethoven) * Pavane (Maurice Ravel) * Prelude in A Major (Frederic Chopin) * Rondo alla Turca (Wolfgang Amadeus Mozart) * Sonata No. 1 in C Major (First Movement) (Wolfgang Amadeus Mozart) * Trumpet Tune (Jeremiah Clarke), and many more. Book. 144 pages. Published by Alfred Publishing.

String Orchestra - Grade 1.5

SKU: KN.08272S

Composed by Ludwig van Beethoven. Arranged by Robert S. Frost. Solo or Ensemble. Accent String Orchestra. Kendor Music Inc #08272S. Published by Kendor Music Inc (KN.08272S).

UPC: 822795082722.

This arrangement in the original key has been masterfully crafted into a grade 1+ setting that allows young string players the chance to experience the power of this great symphonic theme. All instruments use first position with the exception of a few passages for bass using 1/2 position, and the detache and martele bowings will give students a nice chance to strengthen their technical skills. Duration 3:25.

Choir Secular For Double Choir (SSAT - ATBB) (SATB choir)

SKU: PE.EP73500

VOCES8 Singles. By Voces8. By Jim Clements. Edited by Roger Nichols. Choral Works (Secular) - Mixed Voices. Edition Peters. Choral Octavo. 24 pages. Edition Peters #98-EP73500. Published by Edition Peters (PE.EP73500).

ISBN 9790577020464. 272 x 190mm inches. English.

What better way for choirs to celebrate Beethoven's 250th birthday than with this entertaining medley of some of his greatest hits (Fur Elise, Moonlight Sonata, Pathetique Sonata, and Fifth and Ninth Symphonies), cleverly arranged by Jim Clements?

The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble's ethos, and this is shown in their versatile concert programmes and innovative educational work.

The 'VOCES8 singles' series includes songs for which the group is particularly well known, in choral arrangements produced specifically for VOCES8.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Solo piano piano solo - Grade 5

SKU: B7.B770

Composed by Allen Molineux. Edited by Howard J. Buss. 21st Century. Score. Brixton Publications #B770. Published by Brixton Publications (B7.B770).

8.5x11 inches.

Scherzi for Piano by Allen Molineux - These miniatures are 6 different ways of looking at the scherzo genre. The first deals with allowing the performer to freely play the material. The second, at times, hints at a jazz-like swing style. The third is a special kind of quodlibet in that it uses snippets of well-known scherzi for piano and also for orchestra with numerous appearances of the Chopin Scherzo No. 2 holding it all together, while some actually interact with each other. For example, Brahms, Clara and Robert Schumann do get in a bit of a tangle and Bruckner seems to be at odds with the early Romantics of Beethoven and Schubert. The fourth is a conversational contrast between herky-jerky and groove motion. The fifth, which is the briefest, is a contest between a short staccato figure and an ever-expanding legato one. The final scherzo is a distorted ragtime piece where the left hand avoids the typical march-like accompaniment pattern. (9'50) Grade V.