By Amy Barlowe. For Violin. String - Violin Studies or Collection. Masterwork. Book. 84 pages. Published by Alfred Music Publishing

Tenor Saxophone - 1

SKU: EB.1-930292-06-6

Premier Performance. Instructional Method Book. Ed Sueta Music Publications #1-930292-06-6. Published by Ed Sueta Music Publications (EB.1-930292-06-6).

ISBN 9781930292062.

Prem ier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.

Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.

Th e first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.

Trumpet/Cornet - 2

SKU: EB.1-930292-34-1

Premier Performance. Instructional Method Book. Ed Sueta Music Publications #1-930292-34-1. Published by Ed Sueta Music Publications (EB.1-930292-34-1).

ISBN 9781930292345.

Prem ier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.

Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.

Th e first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.

(KL)

SKU: HL.49041045

Piano works. Composed by Peter Ilyich Tchaikovsky. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. Composed 1875-1878. 262 pages. Schott Music #NCE1069-10. Published by Schott Music (HL.49041045).

ISBN 9783795794453. 10.25x13.25x1.07 inches.

Petr Iljitsch Tschaikowsky, whom Igor Stravinsky charakterized as being 'deeply national', represents the culmination of 'Russion Classical music' of the late-eighteenth and nineteenth centuries. Probably the most versatile of Russian composers, he made great and lasting contributions to all genres - operas, ballets, incidental music, symphonies and other orchestral works, chamber music, piano music, sacred and secural choral music, romances, Lieder and folk-song arrangements - establishing a special place for Russion music within the European tradition. Publications of the first complete edition of Tschaikowsky's works was started in the centenary year of his birth, 1940. Publication of a second edition will begin in 1993, the centenary of his death. There are important reason, both editorial and in terms of content, for a second edition to follow so soon. In the old edition, ideological considerations meant that some of the texts which Tschaikowsky set to music were arbitrarily altered. Similarly, quotations of the old Russian national anthem were replaced by other music. A number of works, or independent versions, werde completely overlooked. For example, the full score of the opera 'Vakula the Smith' (the first version of Cerevicki) and the unfinished Symphony in E flat major werde not standardized; in some cases no textual analysis was offered, and critical apparatures were simply dispensed with.The new complete edition will remedy these shortcomings. In addition to the composer's final versions, it will include alternative and earlier versions of works, as well as fragments and incomplete works, all reproduced faithfully from the sources. Documentation and discussion will be provided in Critical Commentaries. Piano reductions exist of the stage works, concertos and concertante pieces as well as of some of the cantatas and orchestral works, either written by Tschaikowsky himself, or revised or authorized by him. These are all to be included in the edition which, with its historico-critical approach, will address the need both of scholars and of practical musicians.The edition of musical works (Serie I-IX) is supplemented by a facsimile edition of all of Tschaikowsky's surviving sketches (Serie X), the texts of his diaries, writings and letters, including the three-volume Tschaikowsky-Mekk correspondence (Serie XI), a two-volume catalogue of works and a single-volume Tschaikowsky Encyclopaedia (Series XII).

Have Fun Playing the Cello. String. Softcover with CD. 40 pages. Schott Music #ED22504. Published by Schott Music

Full Score. Composed by Richard L. Saucedo. MusicWorks Grade 5. Concert. Score (softcover). 20 pages. Published by Hal Leonard

Assembly, cantor, C instrument, guitar, flute, keyboard

SKU: GI.G-007114

Composed by James V. Marchionda. Easter, OT 3 Year A, easter 7 Year C, easter 7 Year B, easter 6 Year B. Sacred. Octavo. With guitar chord names. GIA Publications #007114. Published by GIA Publications (GI.G-007114).

UPC: 641151071145.

This piece affirms human holiness while sounding a plea for Christian Unity. Adapted from Preface II for the Holy Eucharist in the Roman Sacramentary, the refrain gently beckons our Eucharistic Lord to bestow the light of Christian unity upon all who would receive the Body of Christ. Dramatic verse harmonies support texts that render serious theological implications and challenges to all who would claim membership in this same Body of Christ.

An Ecological Musical for Soloists, Chorus, Narrator and Stage Band. By Peter Rose. (Libretto). Boosey and Hawkes Stage Works. Size 7x10 inches. 19 pages. Published by Josef Weinberger.

Viola (2.2.2.2.dble bsn.serp - 2.2.3.0 - timp - str)

SKU: BR.OB-5581-19

Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Thomas Schmidt. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). Symphony; Romantic. Part. 16 pages. Duration 30'. Breitkopf and Haertel #OB 5581-19. Published by Breitkopf and Haertel (BR.OB-5581-19).

ISBN 9790004343227. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

Piano - early intermediate

SKU: CR.977836

Composed by Concordia Publishing House. Piano. Book. With music. Concordia Publishing House #977836. Published by Concordia Publishing House (CR.977836).

ISBN 9780758662224. 9 x 12 inches.

Followin g the successful Hymn Prelude Library series for organ comes a comprehensive set of piano preludes for all the hymn tunes in Lutheran Service Book. Not an adaptation of the organ series, this collection features newly composed pieces by dozens of composers who write in a variety of styles and harmonizations. The pieces are useful as preludes, postludes, music at the offering, for introductions, and during distribution, as well as for those who play hymns at home. The durable wire binding ensures that each page lies flat against the music stand.

The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 5 contains preludes for tunes starting with the letters H and I.

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About the Editor
Kevin Hildebrand is Kantor at Concordia Theological Seminary in Fort Wayne, Indiana. He has more than 75 music titles in print with CPH and was the editor of Hymn Prelude Library.

Grade 5

SKU: CL.LDP-7017-00

Of Love and Beauty. Composed by Forte. Concert Band. Score and set of parts. Composed 2002. Daehn Publications #LDP-7017-00. Published by Daehn Publications (CL.LDP-7017-00).

A striking musical picture of the Goddess of Love; her birth from the foam of the sea, her other-worldly beauty, and her bewitching power over mortal men. From: Olympus: Four Mythological Legends. Splendid!

Ricordi Opera Vocal Score Series. Composed by Giovanni Battista Pergolesi (1710-1736). Vocal Score. Softcover. Ricordi #CP140741. Published by Ricordi (HL.50600414).

SKU: FZ.7153

From 529 to 1972. Edited by Philippe Lescat. Mnemosis: The Memory of Music Collection. Book and CD. Published by Anne Fuzeau Productions - France (FZ.7153).

ISBN 9782841691265. 17.00 x 22.00 cm inches.

Delve into the memory of music with the Mnemosis collection from Anne Fuzeau Classique. Only in french. 71 plans. For the first time, the evolution of French musical education is traced in 71 shots, precise and clear, following the principles of the collection. The historical context is restored through an extensive chronological table placed at the beginning of the book. The structure of each plan adapts flexibly to the topic. All musicians, music teachers, historians, are concerned by this remarkable work.

SKU: HL.49041356

Composed by Paul Hindemith. Edited by Giselher Schubert. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 328 pages. Schott Music #PHA402. Published by Schott Music (HL.49041356).

ISBN 9783795792848.

The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of ‚Unpublished pieces for an eventual complete edition‘.The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor.Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary.The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.

Choral (SATB)

SKU: HL.417939

Composed by John Leavitt. Sacred Choral. Christmas. Octavo. 16 pages. Duration 295 seconds. Published by Hal Leonard (HL.417939).

UPC: 196288059295. 6.75x10.5x0.036 inches. II Corinthians 9:15, Revelation 12:5.

Floating effortlessly, this anthem for soloist and choir is the perfect Christmas Eve offering. Surprising harmonies delight while the theologically rich lyric reminds us of the true meaning of Christmas. Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-3, hp, vn 1-2, va, vc, db) available as a digital download.

Composed by Ludwig van Beethoven (1770-1827). Edited by Ginevra Petrucci. LKM Music. Classical. Softcover. 12 pages. Lauren Keiser Music Publishing #S113001. Published by Lauren Keiser Music Publishing

Critical Edition, Cloth Piano Accompaniment; Voice (Voice and Piano)

SKU: HL.49041362

Hindemith Complete Edition for Voice and Piano Cloth. Composed by Paul Hindemith. Edited by Giselher Schubert, Ludwig Finscher, and Luitgard Schader. Edition Schott. Classical. Hardcover. 316 pages. Schott Music #PHA602. Published by Schott Music (HL.49041362).

The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of Unpublished pieces for an eventual complete edition. The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor. Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary. The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.

Piano - Level 3

SKU: FV.FUE-10073

Composed by Florentine Mulsant. Piano music. Sound Research of Women Composers: Contemporary Music C192. Sound Research of Women Composers: Contemporary Music C192. Contemporary. Score. Duration 45'00. Furore Verlag #FUE 10073. Published by Furore Verlag (FV.FUE-10073).

The 45-minutes work has been composed between 2010 et 2011. These ,,Preludes pour piano are a tribute to the Preludes of Alexander Scriabine. There is no tonal reference in the writing of my Preludes that were written in a chronological way. It is possible to play some of them, however a complete interpretation is preferable. They are mysterious, playing with piano resonance, rhythmic and passionate. They are linked by a great unity of language.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

12 Selected Arias for Tenor with Piano. Composed by Antonio Vivaldi (1678-1741). Vocal Collection. Classical. Softcover. 76 pages. Ricordi #NR14245200. Published by Ricordi

Voice, instrument(s) and continuo

SKU: FZ.5669

Composed by Jean-Baptiste. dit Baptistin Stuck. Edited by Philippe Lescat, Jean Saint-Arroman. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Score. Published by Anne Fuzeau Productions - France (FZ.5669).

ISBN 9790230656696. 23.50 x 32.50 cm inches.

This facsimile of an original by Jean-Baptiste Stuck is part of our French classical music collection. Edition : Paris, C. Ballard, 1711. The original edition of these excellent cantatas. The preface contains a study of ornamentation used in Stuck's cantatas and chronological list of French cantatas from 1683 to 1789. Preface by: Jean Saint-Arroman: participants - notation - ornamentation. Philippe Lescat: catalogue of French cantatas. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches.
Facsimile of a copy in the Municipal Library of Lyon (France). Anne Fuzeau Classique propose period copies of classical music scores.