Teaching Materials

SKU: PR.UE026309

Letters To His Publishers. Composed by Gustav Mahler. Edited by Franz Willnauer. This edition: German Version. Other. With Standard notation. Universal Edition #UE026309. Published by Universal Edition (PR.UE026309).

ISBN 9790008084515. UPC: 803452068303.

Unive rsal Edition has published Gustav Mahler's letters to his publishers for the first time, providing insight into the inner workings of the composer's mind as he worked to translate his ideas to paper. These letters provide a detailed and multi-faceted picture of the composer, ranging from contract negotiations to the discussion of strategically distributing promotional copies of his works. To hear the true voice of Mahler in this text is truly an extraordinary experience.

SKU: HL.49045855

Critical Commentary. Composed by Carl Maria von Weber. Edited by Solveig Schreiter. Classical. Hardcover. 324 pages. Schott Music #WGA1034-20. Published by Schott Music (HL.49045855).

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for eachwork. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant toeach other in the commentaries, therefore readers should benefit from a wealth of concise information and cro.

Mixed choir (SATB), 2 flutes, 2 oboes, 2 clarinets, 2 bassoons - 2 horns, 2 trumpets, 3 trombones, timpani and strings (P+KRB)

SKU: HL.49042434

Composed by Carl Maria von Weber. Edited by Frank Ziegler and Johannes Kepper. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 306 pages. Schott Music #WGA1021. Published by Schott Music (HL.49042434).

ISBN 9783795794491. 10.25x13.5x1.141 inches. German.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

(P+KRB)

SKU: HL.49042459

Composed by Carl Maria von Weber. Edited by Andreas Fukerider and Claudia Theis. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 274 pages. Schott Music #WGA1061. Published by Schott Music (HL.49042459).

ISBN 9783795794682. 8.75x12.25x1.022 inches.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

Piano (P+KRB)

SKU: HL.49042462

No. 1-4. Composed by Carl Maria von Weber. Edited by Markus Bandur. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. Op. 24+39+49+70. 372 pages. Schott Music #WGA1071. Published by Schott Music (HL.49042462).

ISBN 9783795794637. German - English.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

Books and Journals; Early Music

SKU: UT.LB-7

Composed by Gaspare De Caro. Hardback (Cloth Hard Cover with Jacket). Classical. Books and Journals; Early Music. Ut Orpheus #LB 7. Published by Ut Orpheus (UT.LB-7).

ISBN 9788881094561. 6.5 x 9.5 inches.

Proiezione in origine dei valori e dei miti di una tragica militanza ideologica, la nozione di Umanesimo civile – l’idea di una epocale convergenza tra la mutazione culturale promossa dagli umanisti e i valori sociali e politici espressi dalle repubbliche cittadine del primo Rinascimento – si carica volentieri di una responsabilità di paradigma metastorico che la critica ha persuasivamente contestato. D’altra parte la nozione non sembra sostenere nemmeno la più ristretta accezione di un’esperienza culturale unitaria, di «una maniera propria dell’Umanesimo fiorentino, diversa da quella degli altri gruppi umanistici», troppo profonde risultando le differenze, su aspetti ideologici fondamentali, tra i letterati fiorentini così evocati. Tuttavia il concetto di Umanesimo civile rimane storiograficamente rilevante, confermando l’insistenza di Hans Baron sulla peculiarità dell’esperienza fiorentina, se si limita a riassumere la convergenza tra la rivoluzione culturale e l’elaborazione politica di una specifica vicenda cittadina, protagonista il ceto che in risposta alla rivolta dei Ciompi diede vita alla repubblica oligarchica, a sua volta infine esautorato dall’egemonia medicea. Un primo risultato di questa constatazione è una più incisiva inclusione del movimento artistico nella dimensione dell’Umanesimo civile, non in un ruolo collaterale e subalterno rispetto ai letterati, ma in quello di protagonista, di inoltrato avamposto di una nuova forma mentis, di una aurorale nuova coscienza filosofica e scientifica: un risultato che mette in discussione anche tradizionali convinzioni sulla radicale inettitudine dell’Umanesimo alla scienza. Secondo, cospicuo esito di una più puntuale definizione sociologica, la nozione proposta da Baron e dalla sua scuola non esaurisce con la caduta della repubblica oligarchica la sua pertinenza alle convinzioni e ai comportamenti del patriziato, il quale in effetti continuò largamente e a lungo a coltivare l’immagine di sé creata dall’Umanesimo civile, sebbene ormai non come orgogliosa affermazione del proprio potere, ma come difesa della propria identità sociale e di residue prerogative politiche. In realtà, assai più che non risulti ad una omogeneizzante «storiografia della decadenza», un inconciliabile conflitto di culture percorre il Rinascimento fiorentino in tutta la sua durata, investendo gli orientamenti filosofici, le concezioni artistiche e letterarie, intrecciandosi con le convulsioni politiche della città e con la tragedia della restaurazione confessionale. È appunto in tale intreccio che si possono cogliere, sino a fine Cinquecento, le ultime risonanze dell’Umanesimo civile.
È sembrato importante richiamare l’attenzione da questo punto di vista su personaggi, circostanze ed episodi storiograficamente noti per altri versi: sul magistero intellettuale di Piero Vettori, nella politica culturale del principato mediceo rimasto un corpo estraneo, una testimonianza di valori della tradizione fiorentina mortificati dall’assolutismo e dall’omologazione confessionale; su un aristotelismo umanistico e laico chiamato a fronteggiare il neoplatonismo di regime e a fecondare in termini ideologicamente non neutrali i dibattiti sulla Poetica e sulla teoria musicale; sull’Accademia degli Alterati, luogo di culto di memorie repubblicane e, in qualche momento, sospettabile punto di incontro del dissenso politico. È sembrato infine che la nozione di Umanesimo civile potesse plausibilmente e fecondamente raccordare l’invenzione del melodramma – L’Euridice di Peri, Rinuccini e Corsi per le nozze di Enrico IV e Maria de’ Medici – alle tradizioni culturali, agli interessi sociali, ai sentimenti e progetti politici coltivati dai suoi promotori, Florentini cives non rassegnati alla subalternità e all’alluvione antiumanistica.

SKU: GI.G-10153

Composed by Scott N. Edgar and Stephanie Edgar. Social Emotional Learning. Music Education. 32 pages. GIA Publications #10153. Published by GIA Publications (GI.G-10153).

ISBN 9781622774623.

Illu strated by Nancy Sosna Bohm   Music and art can help us feel and express deep emotions. We can be happy or sad, but that is only the beginning. This beautiful book explores the powerful link between art, music, and emotion, and is ideal for deepening Social Emotional Learning (SEL) and building a fuller emotional vocabulary. Built on the principles of SEL, each page of The ABCs of My Feelings and Music offers an emotion word in a piece of colorful artwork, one for each letter of the alphabet. Below each illustration are three classical music suggestions to listen to while observing the art. Use the provided questions and a link to playlists to help unpack what children are seeing and feeling. The questions can also jumpstart meaningful discussions about how art and music can affect and help us express our emotions. This book is for children as well as teachers, parents, social workers, counselors, music therapists—anyone who works with children and understands the power of art and music. We hope this book helps you and your children/students expand their emotional vocabulary, have meaningful discussions about emotions, and think more deeply about how music and art makes us feel! Scott N. Edgar is Associate Professor of Music, Music Education Chair, and Director of Bands at Lake Forest College (Lake Forest, Illinois). Dr. Edgar is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on Social Emotional Learning. Stephanie Edgar is an active choral singer, performing with the Jacksonville Symphony Orchestra Chorus (Jacksonville, Florida), the University Musical Society Choral Union (Ann Arbor, Michigan), and the Chicago-based Peregrine Vocal Ensemble. Stephanie works as Coordinator of the Center for Academic Success at Lake Forest College in Illinois. Nancy Sosna Bohm is a retired academic librarian and lifelong artist with experience in a variety of media, styles, and subjects. Listen to the music on Spotify: In an effort to increase the diversity of musical examples in The ABCs of My Feelings and Music, Karen Howard has created an additional playlist to use with the artwork! Click here for a free PDF of the song titles and emotion words included on Karen's playlist. In an effort to increase the diversity of musical examples in The ABCs of My Feelings and Music, Franklin Willis has created an additional playlist to use with the artwork! Click here for a free PDF of the song titles and emotion words included on Franklin's playlist.

SKU: AP.6-828476

Rock Life in the Sixties--Augmented Edition. Composed by Edited by Ellen Sander. Reference Textbooks; Textbook - General. Dover Edition. Rock. Book. Dover Publications #06-828476. Published by Dover Publications (AP.6-828476).

ISBN 9780486828473. English.

Name an iconic Sixties rock moment and Ellen Sander was probably there. A beautifully written, sweeping yet intimate account of America's cultural awakening in that decade. Massively entertaining -- Rolling Stone.

As a pioneering rock journalist for Hit Parader, Vogue, Saturday Review, and other publications, Ellen Sander had a backstage pass to the hottest music scenes of the 1960s. In this feast of juicy anecdotes and keen social commentary, she draws upon her professional and personal experiences to chronicle pop culture's highs and lows during the turbulent decade. Join her for weird and wild road trips with companions ranging from Yippies to the members of Led Zeppelin. Stops along the way include the folk music clubs of Greenwich Village, Haight-Ashbury in its riotous heyday, and the euphoric festivals at Monterey and Woodstock.
It is a memoir, a sourcebook, and a love letter, Sander writes, a recollection of a time, parenthesized by ambivalence and apathy, a search for the ultimate high, a generation with an irrepressible vision, its art, artists, its audience, and the substance of its statement. This expanded edition of Trips adds The Plaster Casters of Chicago, Sander's seminal piece on groupie culture, the lengthy Concerts and Conversations, as well as a new Preface and chapter postscripts.

Simply one of the best pieces of rock reportage ever written. -- Los Angeles Review of Books.

By Mel Bay. For Guitar (All). method. Modern Guitar Method. All Styles. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.

by Mel Bay. For Guitar (All). method. Modern Guitar Method. All Styles. Level: Intermediate. Book. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.

Orchestra (Picc. * 2 * 2 * 2 * 2 - 4 * 2 * 2 * 0 - P. S. (Gong * 2 Beck. * Schellentr. * gr. Tr.) (2 Spieler) - 2 Hfn. - Str.)

SKU: HL.49004105

Ballet in three pictures. Composed by Jean Franç and aix. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1935. Duration 40'. Schott Music #ED3294. Published by Schott Music (HL.49004105).

ISBN 9790001042611. UPC: 884088585600. 9.0x12.0x0.122 inches.

Composed by Frederic Vitiello (1960-). For guitar. Classical. Level 2. Score. 55 pages. Published by Editions Henry Lemoine

Guitar - Level 4

SKU: LM.C06199

Composed by Jean-Maurice Mourat. Classical. Score. Editions Combre #C06199. Published by Editions Combre (LM.C06199).

ISBN 9790230361996.

ALBE NIZ Isaac : Pavana-capricho - AGUIRRE Julian : Air creole - ALBENIZ Isaac : Prelude n. 1 - BACH Johann Sebastian : Prelude - BRESCIANELLO Guiseppe Antonio : Sonate - ALBENIZ Mateo : Sonate - TARREGA Francisco : Capricho arabe - ALBENIZ Isaac : Tango - ALBENIZ Isaac : Rumores de la Caleta - GRANADOS Enrique : Danse espagnole n. 5 - MALATS Joaquin : Serenata espanola - ALBENIZ Isaac : Mallorca - ALBENIZ Isaac : Zambra granadina - BORGUES Raul : Valse venezuelienne - ALBENIZ Isaac : Cadiz - GRANADOS Enrique : La Maja de Goya - ALBENIZ Isaac : Torre Bermeja.

Arranged by Deborah Greenblatt. Trios for Strings. Set of parts. Published by Greenblatt and Seay (GS.BSG3ROTFS-T).

Hardcover Boxed Set. Composed by Various Artists. Legendary Series. Classical. Book Only. 255 pages. Wise Publications #MUSAM1003530. Published by Wise Publications

transcribed by Stanley Yates. For classic guitar. Stanley Yates Gtr. Classic, classics. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 192 pages. Published by Mel Bay Pub., Inc.

Arranged by Deborah Greenblatt. Trios for Strings. Part book. Published by Greenblatt and Seay (GS.BVN3ROTFSVN-B).

by Larry Hallar. For keyboard accordion. Non-Series. French, ballad/love songs. Level: Intermediate. Book. Solos. Size 8.75x11.75. 80 pages

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Horn, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Suspended Cymbal, Tambourine, Triangle, Trombone and more. - Grade 2.5

SKU: CF.YPS256

Composed by Ed Kiefer. Yps. Set of Score and Parts. 8+2+4+4+2+2+5+2+2+4+4+4+3 +3+2+3+1+2+2+2+16 pages. Duration 2 minutes, 8 seconds. Carl Fischer Music #YPS256. Published by Carl Fischer Music (CF.YPS256).

ISBN 9781491161586. UPC: 680160920259.

This setting of the beautiful holiday song is accessible for very young bands. All melody sections are in comfortable ranges and the background parts are very interesting and yet, not difficult. All instruments get the melody at some point. Written in bridge form, it begins softly, with soft sleigh bells and clarinets below the break, adding flutes, then brass, then building to a minor section and a very short percussion feature. The section at m. 61 features bell tones under the melody and definitely will put the listener in the holiday spirit! The piece then slowly decrescendos back from where it came, to clarinets in the low register and soft sleigh bells. A good opportunity to teach the students about bridge form. Be sure to keep the same tempo throughout, and although you will want to start softly, keep enough air moving to have good tones in the beginning and closing sections. Time spent on the fp bell tones will really make this setting sparkle! Lots of percussion, but feel free to add more if you need to keep everyone participating. It can also be performed with just a few percussionists, but make sure you cover the sleigh bell part!.
This setting of the beautiful holiday song is accessible for very young bands. All melody sections are in comfortable ranges and the background parts are very interesting and yet, not difficult. All instruments get the melody at some point. Written in bridge form, it begins softly, with soft sleigh bells and clarinets below the break, adding flutes, then brass, then building to a minor section and a very short percussion feature. The section at m. 61 features bell tones under the melody and definitely will put the listener in the holiday spirit! The piece then slowly decrescendos back from where it came, to clarinets in the low register and soft sleigh bells. A good opportunity to teach the students about bridge form.Be sure to keep the same tempo throughout, and although you will want to start softly, keep enough air moving to have good tones in the beginning and closing sections. Time spent on the fp bell tones will really make this setting sparkle! Lots of percussion, but feel free to add more if you need to keep everyone participating. It can also be performed with just a few percussionists, but make sure you cover the sleigh bell part!

(For the Snare Drummer). By George Lawrence Stone. For Snare Drum. Method/Instruction; Percussion - Snare Drum Method. Book. 48 pages

Guitar Technique. By Ken Perlman. Guitar. Size 9x12 inches. 256 pages. Published by Centerstream Publications.