SKU: HL.49045757

ISBN 9781540020321. UPC: 888680727222. 9.25x12.0x0.183 inches.

Friction, Pressure, Impact comprises three movements, each of which focuses on the question of musical metabolism in a different way. The first movement, Friction, has a moderately fast metabolism, working through the musical material between the instruments with some speed yet with a kind of compulsively controlled rate of evolution. Pressure has a much slower pace of working through its musical argument, which is relatively minimal. It moves heavily and sensuously through its course. Impact changes and shifts with a mercurial speed; although this movement has one single argument throughout, it is an argument that is constantly changing shape and perspective: phrase-lengths, local patterns, registers, and harmonic inversions are constantly in flux, pelting the music's surface like a hale storm.- Hannah Lash.

SKU: HL.4007629

UPC: 196288074571. 9.0x12.0 inches.

From Disney's animated blockbuster Encanto, here is a terrific medley for the concert stage featuring plenty of Latin excitement. This great sounding arrangement by Peter Kleine Schaars includes highlights from the following songs: We Don't Talk About Bruno, Waiting on a Miracle, Surface Pressure, Two Oruguitas and The Family Madrigal. Your band (as well as your audience!) will love this catchy music full of wonderful Disney melodies featuring Latin rhythms!

SKU: HL.4007631

UPC: 196288074595. 9.0x12.0 inches.

From Disney's animated blockbuster Encanto, here is a terrific medley for the concert stage featuring plenty of Latin excitement. This great sounding arrangement by Peter Kleine Schaars includes highlights from the following songs: We Don't Talk About Bruno, Waiting on a Miracle, Surface Pressure, Two Oruguitas and The Family Madrigal. Your band (as well as your audience!) will love this catchy music full of wonderful Disney melodies featuring Latin rhythms!

SKU: BR.OB-15148-19

In Cooperation with G. Henle VerlagEB 10787 is printed in score form; two copies are needed for performance.Our ed ition EB 8579 contains Ferrucci Busoni's cadenzas for the Piano Concerto in C majo. Solo concerto; Classical. Part. 8 pages. Duration 28'. Breitkopf and Haertel #OB 15148-19. Published by Breitkopf and Haertel (BR.OB-15148-19).

ISBN 9790004342190. 10 x 12.5 inches.

Composed under pressure, edited in peace: K. 491In spring 1786 Mozart was under pressure: he had only two weeks between the composition and first performance of the C-minor Piano Concerto K. 491. It is no wonder that the autograph was written very hastily and the piano part occasionally only sketched. Mozart, who played the solo part at the premiere, still thought about it later. During subsequent revisions of the piano part, he caused a certain amount of confusion through corrected versions and parallel versions. Editor Ernst Herttrich thus faced great challenges when preparing the Breitkopf Urtext edition, especially since printed editions were only published posthumously. But since they contain readings that play an important role in the reception of the work, they were included in the new edition as variants.

SKU: AP.50067

ISBN 9781470662226. UPC: 038081579429. English.

Bowie. Some artists only need to be known and recalled by one name. This fantastic medley contains three of his biggest hits. The jazzy and funky Let's Dance, the ethereal Space Oddity, and the ever-grooving hit, with rock group Queen, Under Pressure. (6:45).

SKU: HL.49033271

ISBN 9790001136877. 9.0x12.0x0.088 inches. German.

Kafka's ouvre is interspersed with moments of utter anxiety. Moments in which, induced by adrenalin, the blood pressure rises. Blood vessels which seem to constrict, pump enormous quantities of blood the pressure of which might make one believe that the head is going to explode. In The Judgment, an innocent opening story leads to one of the most unusual showdowns in world literature: The beloved father sentences his son to death by drowning; the son immediately obeys since his life, his existence almost explodes, becomes blurred, dissolves at the moment the judgment is pronounced. For me, the 'self' driving him - I imagine this as a high sound in the inner ear - could only be a soprano. This is why the actual 'fall' has turned out to be clear, almost friendly and why Georg only seems to want to breathe a soft and quiet 'Dear parents, I have always loved you' during the fall while no longer keeping the singing tone, shortly before death, almost casually, takes hold of him. Christian Jost.