Study score. By Konrad Boehmer. Arranged by . For Cor anglais, A-Clarinet, Bass clarinet, Bassoon, Horn, Trombone, Piano I and II. Published by Tonos (German import).

By Vincent Persichetti. For English Horn, Piano. Solo Part with Piano Reduction. Opus 137a. Duration 20:. Published by Theodore Presser Company.

Orchestra 2 Flutes, 2 Oboes, 3 Clarinets in Bb (3rd alt. Bass Clar.), 3 Trombones, 3 Trumpets in Bb, 4 Horns in F, 4 Percussion, Bassoon, Contrabassoon, Cor Anglais, Harp, Piano, Piccolo, Strings, Timpani, Tuba

SKU: PR.46600069L

A Celebratory Overture for Full Orchestra. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed June 3 2005. 38 pages. Duration 6:30. Theodore Presser Company #466-00069L. Published by Theodore Presser Company (PR.46600069L).

UPC: 680160599295. 11 x 17 inches.

Orchestra 2 Flutes, 2 Oboes, 3 Clarinets in Bb (3rd alt. Bass Clar.), 3 Trombones, 3 Trumpets in Bb, 4 Horns in F, 4 Percussion, Bassoon, Contrabassoon, Cor Anglais, Harp, Piano, Piccolo, Strings, Timpani, Tuba

SKU: PR.466000690

A Celebratory Overture for Full Orchestra. Composed by Dan Welcher. Contemporary. Full score. With Standard notation. Composed June 3 2005. 38 pages. Duration 6:30. Theodore Presser Company #466-00069. Published by Theodore Presser Company (PR.466000690).

UPC: 680160599288. 8.5 x 11 inches.

Piano Solo

SKU: BU.EBR-A101

Composed by Jacques Offenbach. Anacrouse. Transcription pour piano + Biographie + Notes sur l'oeuvre. Score. Editions Bourges #EBR-A101. Published by Editions Bourges (BU.EBR-A101).

ISBN 9790560153797. 8.58 x 12.48 inches.

La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.

Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.

Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.



Les cancans, que l'on attribue souvent à Jacques Offenbach, ne sont en réalité que des détournements de ses compositions. Le cas le plus célèbre est celui du galop infernal (nom d'un pas de danse), issu de l’œuvre Orphée aux enfers (1858), que l'on se permet souvent de renommer French Cancan. Cette transformation est faite de manière abusive, car l’appellation de French Cancan n'existait pas à l’époque où Jacques Offenbach composait.
Le cancan est une danse populaire, inventée au début du XIXème siècle. Il était à la base exécutée en couple dans les bals et les cabarets, et faisait partie des danses très mal vues par les familles mondaines. Le nom Cancan, attribué semble t’il à l’origine parce que les danseurs imitaient la démarche et le cri de l’oie, est ensuite devenu, par une transformation touristique d'origine anglaise (coincoin / cancan) le French Cancan.
Cette danse donne l'image d'une société parisienne frivole, proche de celle décrite de façon caricaturale dans La vie parisienne. Les femmes sont vite seules à le danser, en rang, face au public, et les nombreux pas de pattes en l’air laissent souvent apparaître les dessous raffinés de l’époque…que le peintre Toulouse-Lautrec aura plaisir à illustrer.

By Burnet Tuthill. For English Horn, Piano. Published by Tritone/Tenuto Publications.

SKU: M7.BRP-1706

Fantaisie pour deux Flutes et Piano. Composed by Jean-Louis Tulou. Sheet music. Score and parts. Op.50. MDS (Music Distribution Services) #BRP 1706. Published by MDS (Music Distribution Services) (M7.BRP-1706).

Violin

SKU: HL.48186222

Leduc. CD only. Alphonse Leduc #AL30370. Published by Alphonse Leduc (HL.48186222).

UPC: 888680830182. 9x12 inches.

“Born in 1955, Lebanese-French composer, organist and improviser Naji Hakim studied under Jean Langlais at the Paris Conservatoire before succeeding Olivier Messiaen as organist of the Saint Trinity Church in Paris. Considering his significant musical training, Langlais' compositions are created from a wealth of knowledge and understanding, Concerto for Violin being no exception. Composed in 2002, Concerto for Violin, with String Orchestra or Piano reduction accompaniment, is highly modern in composition. With a typical performance lasting about 35 minutes, the concerto is made up of three movements. The solo Violin line addresses many virtuosic techniques, including double and triple stops, articulation, complex rhythms, varying bowings and a huge range of performance directions, amongst other aspects. For all advanced violinists, seeking varied, modern repertoire, Hakim's Concerto for Violin is an essential addition to the repertoire.&rdquo.

By Jean Langlais (1907-1991). For piano and organ. Classical. Score. Published by Editions Combre

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

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

Composed by Beatrice Quoniam / Beata Suranyi / M.J. Saladin De Nuglar. For piano. Le repertoire du pianiste. Classical. Level 1. Score. 44 pages. Published by Editions Henry Lemoine

Composed by Beatrice Quoniam / Beata Suranyi / M.J. Saladin De Nuglar. For piano. Le repertoire du pianiste. Classical. Level 2. Score. 63 pages. Published by Editions Henry Lemoine

Orchestra 2 Percussion, 3 Trumpets in C, Bass Clarinet in Bb, Bass Trombone, Bassoon, Clarinets in Bb, Contrabassoon, Cor Anglais, Flutes, Harp, Horns in F, Oboes, Piano, Piccolo, Solo Timpani, Strings, Trombones, Tuba, Vibraphone, Xylophone

SKU: PR.46600068L

For Timpani and Orchestra. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 4-Jun. 76 pages. Duration 17 minutes. Theodore Presser Company #466-00068L. Published by Theodore Presser Company (PR.46600068L).

UPC: 680160599271. 11 x 17 inches.

Orchestra 2 Percussion, 3 Trumpets in C, Bass Clarinet in Bb, Bass Trombone, Bassoon, Clarinets in Bb, Contrabassoon, Cor Anglais, Flutes, Harp, Horns in F, Oboes, Piano, Piccolo, Solo Timpani, Strings, Trombones, Tuba, Vibraphone, Xylophone

SKU: PR.466000680

For Timpani and Orchestra. Composed by Dan Welcher. Contemporary. Full score. With Standard notation. Composed 4-Jun. 76 pages. Duration 17 minutes. Theodore Presser Company #466-00068. Published by Theodore Presser Company (PR.466000680).

UPC: 680160599264. 8.5 x 11 inches.

English horn, 2 bass clarinet, 2 bassoons, 3 trumpets, 3 trombones, percussion (small drum, large drum, cymbals), piano

SKU: CA.4058509

Pour instruments a vent, percussions et piano. Composed by Jean Langlais. 1x 40.585/21 English horn, 1x 40.585/22 clarinet 1, 1x 40.585/23 clarinet 2, 1x 40.585/24 clarinet 3, 1x 40.585/25 bassoon, 1x 40.585/31 trumpet 1, 1x 40.585/32 trumpet 2, 1x 40.585/33 trumpet 3, 1x 40.585/34 trombone 1, 1x 40.585/35 trombone 2, 1x 40.585. German title: Trois Dances. Set of Orchestra Parts. Composed 1969. Op. 46. 48 pages. Duration 14 minutes. Carus Verlag #CV 40.585/09. Published by Carus Verlag (CA.4058509).

ISBN 9790007219277. Language: all languages.

Score available separately - see item CA.4058500.

Descant recorder and piano (S) - intermediate

SKU: HL.49005552

Edited by Johannes Runge. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 28 pages. Schott Music #ED 5248. Published by Schott Music (HL.49005552).

ISBN 9790001059695. 10.75x7.5x0.422 inches.