String Orchestra and Piano

SKU: BT.EMBZ14253

By Lajos Vigh. By Arpad Pejtsik. EMB Music for Beginners. Educational Tool. Book Only. Composed 2000. 92 pages. Editio Musica Budapest #EMBZ14253. Published by Editio Musica Budapest (BT.EMBZ14253).

Hungarian-English-Germ an-French.

The volume comprises works by classical and romantic masters for beginners. The chamber ensemble includes violin, viola, violoncello and piano, but if the viola is missing, its part can be played by a second violin from the version enclosed in the appendix. The string parts do not go beyond the first position. As opposed to the basso continuo part that children are less fond of, the piano assumes a soloistic role alternating with the strings. A certain part of the pieces can already be played after two years of serious studies. The colourful music containing dance movements and larger forms alike offers possibilities of common music making for string players andpianists.

Violoncello/double bass part (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165214

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165214. Published by Carus Verlag (CA.5165214).

ISBN 9790007313876. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� ��™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman� ��s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Young concert band - Grade 2

SKU: CL.011-4091-01

Composed by Phillips. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR377). Extra full score. Composed 2012. Duration 2 minutes, 25 seconds. C.L. Barnhouse #011-4091-01. Published by C.L. Barnhouse (CL.011-4091-01).

Cats’ Night Out follows the adventures of a cat as it makes its big escape to explore the magical mysteries that await our feline friend in the darkness of the great outdoors. The opening line foreshadows the upcoming movements of our cat as it experiences a night outside. The first movement, On the Prowl, musically represents the cat as it roams around the neighborhood looking for adventure. The second movement Mouse Hunt, melodiously depicts a cat as it hunts down its favorite prey the mouse. The surprise ending represents the mouse making his great escape. This is a truly enjoyable selection for students and audiences alike. This programmatic work is an excellent choice for your next concert.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

2nd violin (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165212

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165212. Published by Carus Verlag (CA.5165212).

ISBN 9790007313852. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� ��™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman� ��s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165205

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Choral Score. KV 626. Duration 50 minutes. Carus Verlag #5165205. Published by Carus Verlag (CA.5165205).

ISBN 9790007314286. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� �™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’ s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165219

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Set of Orchestra Parts. KV 626. Duration 50 minutes. Carus Verlag #5165219. Published by Carus Verlag (CA.5165219).

ISBN 9790007313883. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� �™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’ s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

1st violin (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165211

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165211. Published by Carus Verlag (CA.5165211).

ISBN 9790007313845. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� ��™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman� ��s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

By Todd Phillips. For young concert band. Command Series. Grade 2. Score and set of parts. Duration 2 minutes, 25 seconds. Published by C.L. Barnhouse

Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165203

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Vocal score. KV 626. Duration 50 minutes. Carus Verlag #5165203. Published by Carus Verlag (CA.5165203).

ISBN 9790007294243. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozartâ??s Requiem. â??Another one?â? you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃ?mayr version. Yet such is the enormous power of Mozartâ??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâ??s additions to Mozartâ??s great original show the requisite care and respect while incorporating many new insights.

Armanâ? ?s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâ??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ??s unique sound is given an opportunity to shine. Armanâ??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â?? in the spirit of Mozart â?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâ??s fragment ends with the Hostias, and so does Armanâ??s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü�mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â?? and celebrated as offering a scholarly, entirely fresh perspective on Mozartâ??s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Concert Band/Harmonie/Fanfare Band - Grade 1.5

SKU: BT.DHP-1135407-015

Composed by Eric J. Hovi. De Haske Flexible Series. Original Light Music. Set (Score and Parts). Composed 2012. De Haske Publications #DHP 1135407-015. Published by De Haske Publications (BT.DHP-1135407-015).

9x12 inches. English-German-French-Dut ch.

This work in four sections is written for a four-part variable instrumentation together with drums. We start off_x001E_ in the _x001F_first movement on an adventurous safari. In the second and third movements weâ??re on the hunt for great beasts of Africa, which can also be heard with all their stomping, screeching and yelling. A wonderful musical safari that all musicians and listeners alike will enjoy!

Dit werk voor vierstemmige variabele bezetting met slagwerk beschrijft in vier deeltjes verschillende taferelen van het Afrikaanse continent. In het eerste deel gaan we op safari. In het tweede deel gaan we op zoek naar een olifant, een neushoorn, een luipaard een leeuw en een buffel. Welke reptielen kunnen we ontdekken in het derde deel? En hoe kan het beter stoppen dan met een â??Monkey Rockâ??? Tijdens het werk kun je actief verschillende dierengeluiden nabootsen, waardoor je je echt in de jungle waant!

Dieses vierteilige Werk ist für eine vierstimmig variable Besetzung und Schlagzeug instrumentiert. Der Titel spricht schon für sich: In African Scenes spielt der schwarze Kontinent die Hauptrolle. Im ersten Satz starten wir zu einer abenteuerlichen Safari. Im zweiten Teil geht es auf die Suche nach den ?Big Fiveâ?? - den groÃ?en Fünfâ??: Elefant, Nashorn, Leopard, Löwe und Büffel. Im dritten Satz begegnen wir allerlei unheimlichen Reptilien, bevor das Werk fröhlich mit dem ?Monkey Rockâ?? endet, in dem auch ein Affenruf vertont wird.

Cette pièce en quatre mouvements est une oeuvre instrumentation variable quatre voix et percussions. Le titre parle de lui-même : dans African Scenes, le continent Noir tient le premier rôle. Le premier mouvement nous entraîne dans un safari plein dâ??émotions. Dans le deuxième nous observons les grands seigneurs de la savane : éléphant, rhinocéros, léopard, lion et buffl_x001A_e. Le climat du troisième mouvement donne un peu la chair de poule alors que nous rencontrons toutes sortes de reptiles dangereux. Heureusement, lâ??oeuvre sâ??achève avec le joyeux Monkey Rock, au cours duquel nous entendons même le cri dâ??un singe.

Questo brano in quattro parti è pensato per strumentazione variabile a quattro voci e percussioni. Il titolo parla da solo: in African Scenes il continente nero riveste il ruolo principale. Il primo movimento vede i protagonisti iniziare un avventuroso safari. Nella seconda parte inizia la ricerca dei â??Big-Fiveâ?: elefante, rinoceronte, leopardo, leone e bufalo. Il terzo movimento si caratterizza dallâ??inaspettato incontro con rettili rari, e precede il quarto e ultimo movimento. Monkey Rock, in stile più giocoso, rappresenta lâ??incontro con una simpatica e vivace scimmietta.

(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165209

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. Set of Orchestra Parts. KV 626. Duration 50 minutes. Carus Verlag #5165209. Published by Carus Verlag (CA.5165209).

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

ArmanÃ� �€™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâ€â„� �s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Armanâ⠂¬â„¢s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Euphonium/Tuba Trio - Advanced

SKU: CY.CC3064

Composed by Henry Purcell. Arranged by Ralph Sauer. Classical. Score and Parts. Cherry Classics #CC3064. Published by Cherry Classics (CY.CC3064).

ISBN 9790530110416. 8.5 x 11 in inches.

Purcell's Trio Sonatas of 1683 are a blend or hybrid of French and Italian Baroque 17th Century musical styles. The six Sonatas of Volume 2 alternate between major and minor keys. Each work consists of several short movements, ranging between melancholy and joyous. Volume 2 is a continuation of the six sonatas from volume one, with more surprises and enjoyment for performers and listeners alike. Especially delightful are the dissonances that the composer intersperses throughout each work. Each Sonata is about 6-7 minutes in length and they are an absolute delight to perform. Part three may also be performed on Tuba. For advanced performers.

Viola (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165213

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165213. Published by Carus Verlag (CA.5165213).

ISBN 9790007313869. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’ s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Concert Band/Harmonie/Fanfare Band - Grade 1.5

SKU: BT.DHP-1135407-215

Composed by Eric J. Hovi. De Haske Flexible Series. Original Light Music. Score Only. Composed 2012. 10 pages. De Haske Publications #DHP 1135407-215. Published by De Haske Publications (BT.DHP-1135407-215).

9x12 inches. English-German-French-Dut ch.

This work in four sections is written for a four-part variable instrumentation together with drums. We start off_x001E_ in the _x001F_first movement on an adventurous safari. In the second and third movements we’re on the hunt for great beasts of Africa, which can also be heard with all their stomping, screeching and yelling. A wonderful musical safari that all musicians and listeners alike will enjoy!

Dit werk voor vierstemmige variabele bezetting met slagwerk beschrijft in vier deeltjes verschillende taferelen van het Afrikaanse continent. In het eerste deel gaan we op safari. In het tweede deel gaan we op zoek naar een olifant, een neushoorn, een luipaard een leeuw en een buffel. Welke reptielen kunnen we ontdekken in het derde deel? En hoe kan het beter stoppen dan met een ‘Monkey Rock’? Tijdens het werk kun je actief verschillende dierengeluiden nabootsen, waardoor je je echt in de jungle waant!

Dieses vierteilige Werk ist für eine vierstimmig variable Besetzung und Schlagzeug instrumentiert. Der Titel spricht schon für sich: In African Scenes spielt der schwarze Kontinent die Hauptrolle. Im ersten Satz starten wir zu einer abenteuerlichen Safari. Im zweiten Teil geht es auf die Suche nach den ‚Big Five’ - den großen Fünf“: Elefant, Nashorn, Leopard, Löwe und Büffel. Im dritten Satz begegnen wir allerlei unheimlichen Reptilien, bevor das Werk fröhlich mit dem ‚Monkey Rock’ endet, in dem auch ein Affenruf vertont wird.

Cette pièce en quatre mouvements est une oeuvre instrumentation variable quatre voix et percussions. Le titre parle de lui-même : dans African Scenes, le continent Noir tient le premier rôle. Le premier mouvement nous entraîne dans un safari plein d’émotions. Dans le deuxième nous observons les grands seigneurs de la savane : éléphant, rhinocéros, léopard, lion et buffl_x001A_e. Le climat du troisième mouvement donne un peu la chair de poule alors que nous rencontrons toutes sortes de reptiles dangereux. Heureusement, l’oeuvre s’achève avec le joyeux Monkey Rock, au cours duquel nous entendons même le cri d’un singe.

Questo brano in quattro parti è pensato per strumentazione variabile a quattro voci e percussioni. Il titolo parla da solo: in African Scenes il continente nero riveste il ruolo principale. Il primo movimento vede i protagonisti iniziare un avventuroso safari. Nella seconda parte inizia la ricerca dei “Big-Five”: elefante, rinoceronte, leopardo, leone e bufalo. Il terzo movimento si caratterizza dall’inaspettato incontro con rettili rari, e precede il quarto e ultimo movimento. Monkey Rock, in stile più giocoso, rappresenta l’incontro con una simpatica e vivace scimmietta.

Organ (Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, Bc)

SKU: CA.5165249

Completed and edited by Howard Arman. Composed by Wolfgang Amadeus Mozart. Edited by Howard Arman. Arranged by Howard Arman. KV 626. Duration 50 minutes. Carus Verlag #5165249. Published by Carus Verlag (CA.5165249).

Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Armanâ� ��™s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman� ��s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

Trombone Trio - advanced

SKU: CY.CC2793

Composed by Henry Purcell. Arranged by Ralph Sauer. English Baroque. Coil bound score & parts. Published by Cherry Classics (CY.CC2793).

Purcell's Trio Sonatas of 1683 are a blend or hybrid of French and Italian Baroque 17th Century musical styles. The six Sonatas of Volume 2 alternate between major and minor keys. Each work consists of several short movements, ranging between melancholy and joyous. Volume 2 is a continuation of the six sonatas from volume one, with more surprises and enjoyment for performers and listeners alike.

Especiall y delightful are the dissonances that the composer intersperses throughout each work.

Each Sonata is about 6-7 minutes in length and they are an absolute delight to perform.

For advanced performers.