SKU: SU.00123269

Mozartâ??s massive output at your fingertips! This vast collection comprises 40 volumes of music form the original Mozart Werke Verzeichnis, which was completed shortly before WWI. It is essentially every work of Mozart in the standard repertory. Over 13,000 pages in all. Searching, viewing and printing of any piece is never more than a few clicks away DVD-ROM

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: BA.BA08857-90

ISBN 9790006558193. 27 x 19 cm inches. Text Language: French. Preface: Denecheau, Pascal. Louis de Cahusac.

The opera Nais received its premiere at the Academie Royale in the Palais-Royal, Paris, on 22 April 22 1749 to celebrate the signing of the Treaty of Aix-la-Chapelle. It was revived in August 1764, shortly before Rameau's death and achieved great success as a 'peace opera'. This scholarly-critical edition, published by Pascal Denecheau in theOpera Omnia Rameau, is the fruit of a meticulous comparison of every known musical source. The main body of the edition presents the version pronounced valid by Rameau for the 1749 performances. The appendices contain those passages that he deleted during the 1749 rehearsals and all the changes he made for the new production of 1764. It is here, and especially in the ballets, that Rameau reveals his consummate mastery of the orchestra.

SKU: BR.EB-9387

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

SKU: GI.G-001781

SKU: GI.G-001771

SKU: GI.G-1077

UPC: 785147007722.

Liam Lawton’s High Is the Heaven, combines Celtic themes, strong melodies, and poignant texts to create this unique and accessible collection of music for liturgical celebrations and beyond. Like so many of Liam’s songs, each exquisite piece has a back story. For example, the psalm “The Lord Hears the Cry of the Poor” was written for the Papal Mass of Pope Francis in Ireland. “High Is the Heaven” was written to celebrate the 800th anniversary of St. Columba—one of the ancient Celtic monks who brought Christianity from Ireland to Europe, and the Christmas piece “There’s a Star” was written for Liam’s own parish choir in Ireland. This shorter collection contains a wide variety of songs for worship. In true Lawton fashion, he injects the beauty and spirituality of his homeland into every song. You will not want to miss High Is the Heaven. Grab it for your library today! CONTENTS: The Lord Hears the Cry of the Poor • As You Bring Your Gifts to the Altar • There’s a Star • In the Presence of the Angels • How Lovely Is Your Dwelling Place • What Marvels the Lord Worked for Us • High Is the Heavens • Bonus Track: The Cloud’s Veil.

SKU: AP.46683S

UPC: 038081533285. English.

Enjoy the intensity and intricate harmonies of the Legend of Asturias in a shorter playable version that captures the spirit and feel of the original work. Written first for piano and a favorite of virtually every guitarist, this beloved piece has been effectively scored at grade 3 by composer/arranger Victor López for concert string orchestra, complete with the original high-energy with a multicultural flair!

SKU: PR.114418900

ISBN 9781491129517. UPC: 680160668632.

A welcome addition to the bass flute repertoire, Dorff’s 14-minute sonata is designed as two pairs of slow-fast movements. While composed as a complete 4-movement sonata, either half may be performed alone as a 7-minute recital work. The movement titles are: I. Sprawling, burbling; II. Sparkling, glistening; III. Under Winter; and IV. Spring Spirits.
When Peter Sheridan commissioned me to write a piece for bass flute and piano, his only requests were a sonata-like multi-movement work, and some kind of reference to New York, where we both grew up. Just the thought of a bass flute, with its broad and mighty airstream, already reminded me of the mighty Hudson River: from the dense woods of upstate New York, through the beautiful landscapes of New Paltz and Poughkeepsie, down through the celebrated Manhattan waterway.As I daydreamed how to build a sonata inspired by the Hudson, I thought of its deep primal nature carved by the Ice Age, and the life within the river and on its shores long before humans arrived. I thought of how the river’s magnetism drew Native Americans who honored and built their lives around it. I thought of beautiful trees and wildlife, the annual cycles of ecosystems, and the natural symbiosis between the river itself, the life within, and the life on land spawned by the river’s resources.I wondered what if Thoreau had sat by the Hudson rather than by Walden Pond; I wondered what if Hesse had set Siddhartha in the Hudson Valley with this river as his metaphor for the flow of life and time.I wondered whether the sonata should flow from north to south, or have chronological references. I wondered if I should allude to the many poets and painters who have drawn inspiration from the mighty Hudson. Every thought led to the river’s essence, its own spirit and life — flowing through raw nature, from skinny trickles to mightiness spawning cities; supporting subtle life, and becoming a central commons for human societies.The subtitle Spirit of the Hudson brings it all together.* * *The sonata is built in 4 movements, with formal inspiration from the Baroque: A slow Mvt. 1 “Sprawling, burbling” leads directly to the rapid Mvt. 2 “Sparkling, glistening,” followed by another slow-fast pair: Mvt. 3 “Under Winter” which leads directly into Mvt. 4 “Spring Spirits.” In addition to performances of the complete sonata, either pair of movements may be performed on its own for a shorter concert segment.SONATA (SPIRIT OF THE HUDSON) was premiered at the International Low Flutes Festival in April 2018 by its commissioner, bass flutist Peter Sheridan, with Hyeeun Hahm as pianist.

SKU: HL.44010886

UPC: 884088585150. 9x12 inches.

Commissione d for the University of Massachusetts Lowell New England Youth Wind Ensemble, this significant composition by James Curnow is a pure delight. Interesting percussion and a wide range of expectations from every wind player lets all the musicians have the joy of being challenged. The creative exploration and development of these interesting old melodies rewards the entire ensemble in ways that shorter, more condensed pieces cannot. Duration: c. 9:00.

SKU: LO.20-2075L

ISBN 9780787763169.

The third installment in Lorenz’s “Level One Ringer” series, this pair of pieces belongs in the library of every Level 1 ensemble. With no subdivision of the beat and only one bell change, Two Hymns of Praise keeps within Level 1 parameters. For added flexibility, each piece has an optional ending for a shorter version; the extended versions also include stopped techniques for more of a challenge. These are perfect for beginning ringers of all ages!

SKU: BR.CHB-14676-02

The study score (,,Studien-Edition) is available at G. Henle Verlag.

ISBN 9790004412398. 7.5 x 10.5 inches.

As is often the case with Beethoven's orchestral works, there are several often contradictory sources arising from the material used at the first performance and from the first edition, which call for the knowledgeable assessment of a specialist. Editor Jeremiah W. McGrann takes Breitkopf's original edition as the main source, in spite of the shortcomings caused by a lack of time, and places particular emphasis on the aspect of the organ's figured bass. Two authentic readings have been transmitted, and are thus both printed in the score. The newly revised orchestral material contains a new organ part that has been realized by Siegfried Petrenz and fulfills every requirement for a stylistically authentic performance.

SKU: BT.9781408157299

ISBN 9781408157299. English.

Ukulele Magic is the perfect tutor for children and for teachers. Rock to ragtime, bluegrass to swing, tango, calypso and the blues - they're all here in instantly accessible songs to play straight away ~ whether solo, withfriends, or with the whole class.

Fully supported by video tutorials and audio performances and backings. Ukulele Magic is the perfect tutor for children and for teachers. Rock to ragtime, bluegrass to swing, tango, calypsoand the blues - they're all here in instantly accessible songs to play straight away ~ whether solo, with friends, or with the whole class. Fully supported by video tutorials and audio performances and backings. Theteacher'sedition, BOOK+CD-ROM, contains a whiteboard e-book with embedded audio and video tutorials for every song, making it ideal for classroom teaching.

The 25 pieces carefully progress from playing open strings (egStringalong Rag) to songs with one chord (Shortnin bread, A minor miracle, F major march) to two chords (Baboushka, Tab tango, Calypso strum) and finally three chords (In South Africa, Playing the blues). Finger-picking andstrumming styles are all introduced step by step in pieces which are fun and stylistic.

This is a thorough musical introduction to an immensely popular instrument, opening the way to independent music-making for all.Website extras for teachers include lesson plans with teaching support and extra song suggestions to sing and play.

SKU: BA.BA08362-01

ISBN 9790006496471. 27.5 x 20 cm inches.

Georg Anton Benda's melodrama ,,Medea(1775) was one of the most successful German musical theatre works of the late 18th century. With a libretto by Friedrich Wilhelm Gotter, the work soon became a great influence within the melodrama genre. For several decades, it was performed all over central Europe, developing an impressive reception history. Between 1775 and about 1790, the melodrama was considered an extremely popular (albeit controversial) part of musical theatre, in particular in German-speaking regions. Consequently, Benda's ,,Medeawas at the center of many heated debates.

Unlike opera, the melodrama does not present the libretto in sung form, but rather, the text is spoken and combined with orchestral music and scenes. The traditional opera forms (aria, recitative, ensemble, chorus) are dissolved and replaced by a new interplay of music, speech, and scenes. A focus on a single protagonist and the quick, delicate alternation between spoken text and music allows for the development of conflicting and contradictory psychological profiles with a heightened intensity within the melodrama.

Near the end of his life, Benda revised the work significantly, drawing from his experience of real performances and their effectiveness. The changes leading to the new version of his ,,Medeamusic were quite extensive, affecting almost every single measure: numerous details of the part writing (tempi, voice leading, rhythms, accompanying figures etc.) were revised, the instrumentation was changed, middle voices were led in a more lively manner, and the music as a whole was shortened and effectively compressed. The composer regarded the latter, modified ,,Medeaas the authorized version of the work. The premiere took place in 1784 in Mannheim, however, the altered work received little attention since then and has become tangible again for the first time with the OPERA Edition. All previous editions of the work - and along with them, all previous recordings - are based on the earlier version of 1775.

The third volume of the OPERA seriesMedeacontains a linen-bound book and the edirom on a USB stick in credit card format. The number of users permitted to simultaneously use the digital content of the edition is not limited.

For further information regarding the work and the OPERA series, please visit www.opera-e dition.com and Takte online

SKU: BT.CMP-0634-02-140

Any list of Mozart's greatest works should include this overture. Loved by millions, Mozart's Magic Flute is remarkable for so many reasons and worthy of study by every musician! Why should we deny young band students the joy of playing Mozart just because they don't happen to use a bow on their instruments? Mozart belongs to Everyone! Skillfully brought to the concert band stage by an arranger who works with young bands daily, this somewhat shortened version of the enigmatic Overture is accessible to young bands, but retains a great deal of authenticity. There is added versatility built into this arrangement. A nice performance is possible by using a completeWoodwind section and a Timpanist only. Inspiring!>/I>

SKU: M7.AHW-241

English.

From the Foreword, by David Baldwin: Here is a trumpet book that has been waiting 90 years to become a classic in the advanced trumpet etude repertoire. David Bertie has taken on the monumental task of completely re-imagining every aspect of this work. Aaron Harris first published this series of violin studies and technical calisthenics in 1930. While an impressive body of work, it has never become widely used by trumpet players because of its many shortcomings. With David Bertie's superb revision, this 'new' book is easily on the same level as the etudes by Theo Charlier, Walter Smith, or Chris Gekker. These pieces are not just for violin anymore. A trumpet player can now develop his or her skills to be as sophisticated a musician as any violinist on a Stradivarius!

SKU: HL.49032219

ISBN 9790001072403. UPC: 884088055837. 8.25x11.75x0.76 inches. German - English.

Voice, Piano and Guitar.

SKU: BT.CMP-0634-02-040

Any list of Mozart's greatest works should include this overture. Loved by millions, Mozart's Magic Flute is remarkable for so many reasons and worthy of study by every musician! Why should we deny young band students the joy of playing Mozart just because they don't happen to use a bow on their instruments? Mozart belongs to Everyone! Skillfully brought to the concert band stage by an arranger who works with young bands daily, this somewhat shortened version of the enigmatic Overture is accessible to young bands, but retains a great deal of authenticity. There is added versatility built into this arrangement. A nice performance is possible by using a completeWoodwind section and a Timpanist only. Inspiring!>/I>