Double Bass Quartet - Grade 8

SKU: BT.YE0075

Arranged by Robert Rohe. Classical. Set (Score and Parts). Yorke Edition #YE0075. Published by Yorke Edition (BT.YE0075).

Four Double Basses. Eight well-known Christmas carols in a new guise. Score and parts.

The Programme of Christmas Carols was first performed in New Orleans in 1976. In its original version, the players were required to wear Dickensian costume and a seasonal narrative preceded each of the carol arrangements. The texts appear below.

Duration without text: c.20 minutes
Duration with text: c.45 minutes

Introduc tion by Robert Rohe

The introductory text, assembled with the kind assistance of Father Peacock of Loyola University of New Orleans, was designed for use where the receptivity of the audience warrants. So little is known about thebeloved Christmas carols, it is fitting that a brief sketch of the carols' past be used to enhance the familiar music.

If desired, the introductory text may be omitted at the discretion of the performers.

The brief text preceding each carol should be used to acquaint the audience with what to expect, from a quartet that will be playing the unexpected. The text also will pace the program and will extend performance time to around 45 minutes.

In performance, the bass viol quartet of New Orleans wore peaked caps, and turtle necked sweaters to simulate the street performers of Dickens' time. The choice of four string basses for this program was to bring the closest relatives of the true viol into play.

History and development of the Christmas Carol

The celebration of the birth of Jesus Christ has been observed for nearly 2,000 years, through the ritual of the Christian Church, with part of that ritual being devoted to celebration in song. In those early days, church music was sung only, no musical instruments taking part in the service.

The type of song used by the church had the name 'plain-song'. It was a single line of melody, plain and unadorned, sung by one or more voices. By the year 1660 A.D., it had developed a second name, 'The Gregorian Chant', after Pope Gregory, who encouraged the use.

Violin, orchestra (V-solo, 2 Fl, 2 Ob, 2 clarinet-ia, 2 bassoon, 2 Hn, 2 Trp, timpani, 2 Violin, Viola, Cello,KB)

SKU: BA.BA09099

Composed by Felix Bartholdy Mendelssohn. Edited by Clive Brown and R. Larry Todd. This edition: urtext edition. Paperback. Barenreiter Urtext. Early version 1844 and late version 1845. Score. Opus 64. Duration 12 hours. Baerenreiter Verlag #BA09099_00. Published by Baerenreiter Verlag (BA.BA09099).

ISBN 9790006564330. 31 x 24.3 cm inches. Key: E minor. Preface: Todd, R. Larry / Brown, Clive.

Mendelssohn� �€™s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Lonard, a young Belgian virtuoso about whom little is known.

As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Lonard.

The letter informs us that the composer invited Lonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Lonard.

The recently discovered proofs reveal how Lonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Lonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.

It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Lonard’s playing and offers to lend his support in finding employment in Germany.

This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.

The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Piano

SKU: BR.EB-8033

Piano Lessons by Jean-Philippe Rameau. Composed by Jean-Philippe Rameau. Edited by Heinz Walter. Solo instruments; stapled. Edition Breitkopf. Suite; Dances/marches; Baroque. Score. 20 pages. Breitkopf and Haertel #EB 8033. Published by Breitkopf and Haertel (BR.EB-8033).

ISBN 9790004174364. 9 x 12 inches.

This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Solo soprano voice, solo alto voice, solo tenor voice, solo bass voice, SATB choir, orchestra (Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed choir (SATB), Orchestra) - Level 3

SKU: BA.BA04660-02

Composed by Franz Joseph Haydn. Edited by Gunter Thomas. This edition: urtext edition. Paperback. Score. Hob. XXII:11. Duration 12 hours. Baerenreiter Verlag #BA04660_02. Published by Baerenreiter Verlag (BA.BA04660-02).

ISBN 9790006565375. 31 x 24.3 cm inches. Text Language: Latin. Preface: Gunter Thomas.

Haydn's Missa in Angustiis, also known as theNelson Mass, was composed in 1798. It is one of the six great Mass settings that forms the crowning glory of his vocal music along with The Creation and The Seasons.

Continuing the collaboration between Barenreiter and the G. Henle publishing company regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the Works of Joseph Haydn.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Bass Clarinet and String Quartet

SKU: IS.CM6088EM

Composed by Frits Celis. Ensembles - Chamber Music. Jan Gans Series. Metropolis Music Publishers #CM6088EM. Published by Metropolis Music Publishers (IS.CM6088EM).

ISBN 9790365060887.

Frit s CELIS was born in 1929 in Antwerp. He studied at the Royal Conservatories of Antwerp and Brussels, where he earned final diplomas in solfège, harmony, counterpoint, fugue, music history, harp and orchestral conducting. He then undertook further studies in conducting at the Mozarteum in Salzburg and at the Staatliche Hochschule für Musik in Cologne. In 1946 he began his musical career as a harpist in the orchestra of the former Royal Flemish Opera in Antwerp, a position that he held until 1954. In that year he won first prize in a competition for conductors, organised by the Théatre Royal de la Monnaie in Brussels. Shortly thereafter he was the sole prize-winner in a similar competition run by the then BRT (state broadcaster). Because of his love for opera, he chose to work at the Théatre de la Monnaie in Brussels, where he was conductor until 1959. After this he became conductor and music director at the Royal Flemish Opera in Antwerp, functions that he also held from 1981 to 1988 at the former Opera for Flanders in Antwerp and Ghent. As a guest opera-conductor he appeared in the Netherlands, France, Germany, the Czech Republic, Slovakia, Spain and the United States. He also appeared many times as concert conductor. In 1960 Frits Celis was appointed solfège teacher at the Royal Conservatory in Antwerp, where he was also appointed transposition teacher 12 years later. As a composer, Frits Celis is known for his songs, choral works, chamber music and orchestral works, which have been performed in many European countries, the United States and Japan. He has also been commissioned to write works for the BRT and the Flanders Festival. In 1992, SABAM (composers’ and performers’ organisation) awarded him the Fuga Trophy, in recognition of his many years of work for Belgian music. Since 1989 he has concentrated almost exclusively on composition, which has increased the size of his oeuvre considerably since that time. Almost all his works are commissions, for symphonic ensembles, chamber music groups and choirs. In 2005 he deliberately wrote his last work Tarquinia, opus 76.

Composed by Traditional American. Arranged by Kyle Pederson. School, Church. Walton Choral. Octavo. Walton Music #WW1813. Published by Walton Music

Violin and Piano - Grade 3

SKU: BT.EMBZ810

Composed by Ferenc Vecsey. Book Only. Composed 1952. 6 pages. Editio Musica Budapest #EMBZ810. Published by Editio Musica Budapest (BT.EMBZ810).

English-German-Hungari an.

Ferenc Vecsey (1893-1935) was one of the greatest virtuoso violinists of the early twentieth century. He was soon noticed as a child prodigy, and after his early violin lessons from his father, he became a pupil of Hubay. His first known public appearance was at the age of 6 in Tátraszéplak (Tatranská Polianka), and a few years later in Berlin he made his debut abroad. There he heard the elderly maestro József Joachim, who was astonished at the talented boy's playing. So started the young Vecsey's performing career: he gave a dozen or so concerts in Germany, then followed a series of concert tours all over the world (in 1906 in Spain, Bartók was his accompanist). From1907, his permanent place of residence between concerts was Berlin, where he began to study harmony and counterpoint. Soon he began composing himself, mainly writing virtuoso pieces for his own concerts, of which the Valse triste became the most famous. Other musicians were also happy to include this short character piece in their programmes.Vecsey later settled in Italy. He died unexpectedly at the young age of 42.

Piano/Keyboard

SKU: SU.12800062

For Piano/Keyboard. Composed by Johann Sebastian Bach. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #12800062. Published by Subito Music Corporation (SU.12800062).

Goldberg Variations, BWV 988 (3-page Preface, 63 pages, edited for piano, no fingerings). This attractive Urtext of Bach’s popular variation cycle is not only extremely user-friendly and extra-legible, but in addition, presents groundbreaking performance practice research that explains Bach’s never-before-revealed plan of tempo relationships between variations. This discovery is highly significant with regards to the tempi chosen for the 30 variations in a complete performance. The first edition from 1741, engraved by Bach himself, shows fermatas after some, but not all, variations. Most editors assume this was an oversight by Bach, and thus, add fermatas where they do not belong. Virtually all editions of our time add fermatas where Bach did not indicate them. Perhaps the only edition that correctly reproduces Bach’s fermata indications is Peters (ed. Kurt Soldan, 1937). Mapping out Bach’s fermata plan for the complete cycle reveals an ingenious and fascinating symmetrical arrangement of pairs and groups of variations unified by direct tempo relationships. Bach’s tempo plan has never yet been honored by commercial artists because they have been steeped in false, 19th-century tempo traditions, they have been too influenced by Glenn Gould, and they have never been made aware of Bach’s use of fermatas due to faulty editions. Bach’s master plan is beautifully laid out and all the tempo relationships are explained in the three-page Preface, which also contains a tempo hierarchy matrix relevant to Bach performance as well as Bach’s well-known Table of Ornaments. This edition is ideal for pianists from the late-intermediate levels and higher as well as concert artists, scholars, and teachers who seek an informative edition of the Goldberg Variations for the concert hall or teaching studio. Piano/Keyboard Published by: BachScholar.

SKU: BA.BVK01677

Composed by Gunther Braam. Edited by John Warrack and Richard Maccnutt. This edition: Complete edition. Linen. New Berlioz Edition. Volume 26. Complete edition, Book. Baerenreiter Verlag #BVK01677_00. Published by Baerenreiter Verlag (BA.BVK01677).

ISBN 9783761816776. 27.5 x 19.8 cm inches. Translation: John Warrack.

The volume contains 122 portraits of Hector Berlioz, including paintings, medals, busts, woodcuts, drawings, lithographs, photographs and caricatures. It also presents several doubtful or spurious portraits.
Each reproduction is accompanied by information on its date, artist and present location. This collection of all known Berlioz portraits sheds entirely new light on the life and surroundings of the great French composer.

The Portraits of Hector Berliozis the first collection of all the portraits made of Berlioz during his lifetime. It ranges from photographs, formal paintings and drawings by way of woodcuts and lithographs to the many caricatures which his striking appearance attracted. Each picture is accompanied by a full description and thorough documentation of its location and history, details of the artist's career and relationship with Berlioz, an explanation of the circumstances of the picture's creation, and much else in the way of relevant comment. This documentation also sheds light on the development of photography and its position in the society of the Second Empire , as well as on the emphasis on caricature in the often satirical journalism of the day. Where they contribute to the appreciation of the picture, the articles which the caricatures illustrate, or extracts from them, are also included in an Appendix. Some of the pictures are published for the first time and many for the first time in colour.

As well as being fascinating and often entertaining, the collection adds to our understanding of Berlioz's life, times and the circumstances in which his music was composed and performed.

(Fantasia for Cello and Piano). Composed by Edward Mollenhauer. Edited by Christoph Sassmannshaus. For cello solo and piano. Stapled. Barenreiter's Concert Pieces. Transcribed for Violoncello and Piano. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag

(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt Sassmannshaus. For violin solo and piano. Stapled. Barenreiter's Concert Pieces. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag

(Fantasia for Violin and Piano). Composed by Edward Mollenhauer. Edited by Kurt Sassmannshaus. For violin solo and piano. Stapled. Barenreiter's Concert Pieces. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag

(Fantasia for Cello and Piano). Composed by Edward Mollenhauer. Edited by Christoph Sassmannshaus. For cello solo and piano. Stapled. Barenreiter's Concert Pieces. Transcribed for Violoncello and Piano. Level 2. Piano reduction, part(s). Published by Baerenreiter Verlag

Organ

SKU: HL.48182909

Composed by Olivier Messiaen. Leduc. Classical. Softcover. 89 pages. Alphonse Leduc #AL24656. Published by Alphonse Leduc (HL.48182909).

UPC: 888680862145. 0.298 inches.

Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms, harmony and melodies, Meditations on the Mystery of the Holy Trinity is no exception to the composer's popular, distinctive style. Composed in 1969, Meditations on the Mystery of the Holy Trinity is an example of Messiaen's use of Serialism. The composer first used what he called his musical alphabet in Meditations on the Mystery of the Holy Trinity, where the alphabet includes motifs for the concepts, 'to have', 'to be' and 'God'. Furthermore, 'sentences' depict the writings of St. Thomas Aquinas. Messiaen's musical alphabet, which he also described as communicable language is explained as a preface to the composition Meditations on the Mystery of the Holy Trinity. Divided into nine sections ('meditations'), a typical performance lasts about 74 minutes. Messiaen's Meditations on the Mystery of the Holy Trinity is essential to all advanced, virtuoso and contemporary organists seeking to expand and vary their repertoire..

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 9:00

SATB Choir a cappella

SKU: BT.ALHE31212

Composed by Darius Milhaud. Classical. Choral Score. 12 pages. Heugel & Cie #ALHE31212. Published by Heugel & Cie (BT.ALHE31212).

French.

Composed by Darius Milhaud, Valaisian Quatrains is a piece for SCBT a capella, based on poems by Rainer Maria Rilke. This piece features five different parts, each one from a poem, whose lyrics are inspired by the Valais area inSwitzerland. The composition includes polytonality and polyrhythms that make it highly lyrical, cheerful and nice to sing. The five poems selected are: 1. Pays, arrêté a mi-chemin / Country that stops half-way... 2. Rose delumiere / Rose of Light 3. L'année tourne / The year revolves 4. Chemins qui ne menent nulle part / Paths that take you nowhere 5. Beau papillon / Lovely butterfly Darius Milhaud (1892-1974) was a composer and a teacherwho was also known to be part of Les Six. His composition were known to use politonality and to include some characteristics drawns from the jazz genre.

Composed by Clive Brown. Stapled. Book. Opus 64. 72 pages. Baerenreiter Verlag #BA09060. Published by Baerenreiter Verlag (BA.BA09060).

SATB Choir a Cappella

SKU: HL.48187531

Composed by Darius Milhaud. Heugel. Classical. Softcover. 12 pages. Heugel & Cie #HE31212. Published by Heugel & Cie (HL.48187531).

UPC: 888680843786. 0.116 inches.

Composed by Darius Milhaud, Valaisian Quatrains is a piece for SCBT a capella, based on poems by Rainer Maria Rilke. This piece features five different parts, each one from a poem, whose lyrics are inspired by the Valais area in Switzerland. The composition includes polytonality and polyrhythms that make it highly lyrical, cheerful and nice to sing. The five poems selected are: 1. Pays, arrete a mi-chemin / Country that stops half-way... 2. Rose de lumiere / Rose of Light 3. L'annee tourne / The year revolves 4. Chemins qui ne menent nulle part / Paths that take you nowhere 5. Beau papillon / Lovely butterfly Darius Milhaud (1892-1974) was a composer and a teacher who was also known to be part of Les Six. His composition were known to use politonality and to include some characteristics drawns from the jazz genre..

For E-flat Saxophone and Piano. By Zdenek Fibich. Arranged by Wolfgang Birtel. (Saxophone). Misc. 6 pages. Published by Schott.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

Violin-solo,strings,basso continuo (Violin solo, Strings, Basso continuo)

SKU: BA.BA07567

Twelve Concertos for Violin, Strings and Basso continuo. Composed by Antonio Vivaldi. Edited by Bettina Schwemer. This edition: urtext edition. Paperback. Barenreiter Urtext. Volume II: Concertos VII-XII. Score, anthology. Opus 4. Baerenreiter Verlag #BA07567_00. Published by Baerenreiter Verlag (BA.BA07567).

ISBN 9790006544097. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.

Antonio Vivaldi’s twelve concertos op. 4 known by the name of “La Stravaganza” were first mentioned as a collection of “Concerti a 4” in the 1711 Foreword of “L’Estro Armonico” op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, “La Stravaganza” is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).

The many reprints of “La Stravaganza” bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.

This edition of “La Stravaganza” is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh & Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Violin-solo,strings,basso continuo (Violin solo, Strings, Basso continuo)

SKU: BA.BA07566

Twelve Concertos for Violin, Strings and Basso continuo. Composed by Antonio Vivaldi. Edited by Bettina Schwemer. This edition: urtext edition. Paperback. Barenreiter Urtext. Volume I: Concertos I-VI. Score, anthology. Opus 4. Baerenreiter Verlag #BA07566_00. Published by Baerenreiter Verlag (BA.BA07566).

ISBN 9790006544066. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.

Antonio Vivaldiâ??s twelve concertos op. 4 known by the name of â??La Stravaganzaâ? were first mentioned as a collection of â??Concerti a 4â? in the 1711 Foreword of â??Lâ??Estro Armonicoâ? op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, â??La Stravaganzaâ? is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).

The many reprints of â??La Stravaganzaâ? bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.

This edition of â??La Stravaganzaâ? is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Soprano voice, two violins & continuo

SKU: HH.HH433-FSP

Composed by Giuseppe Torelli. Edited by Michael Talbot. Soprano, Two Violins & Continuo. Full score and parts. Duration c.12'. Edition HH Music Publishers #HH433-FSP. Published by Edition HH Music Publishers (HH.HH433-FSP).

ISBN 9790708146391.

Gius eppe Torelli (1658–1709) was the reputed father of the instrumental concerto; what is not widely known is that he also composed sacred vocal music. Discovered in 2001, when the Berlin Sing-Akademie’s archive was returned from Kiev (where it had been hidden away since the Second World War), his four-movement motet Ite, procul abite, maestitiae (‘Go, begone, sadness’) for soprano, two violins and continuo is a splendid example of its genre. Torelli probably wrote it at Ansbach during a brief interregnum around 1700 when his employer, the Basilica di San Petronio in Bologna, temporarily suspended its orchestra, leaving its members to seek their fortune elsewhere. This exciting and technically challenging work, full of exquisite touches, reaches the heights of similar motets by Alessandro Scarlatti and looks forward to Vivaldi.

6 Easy Concert Pieces. Composed by Arnold Trowell. Edited by Beverley Ellis. This edition: Saddle stitching. Sheet music. Schott Student Edition. 6 leichte Stucke fur Violoncello und Klavier. Classical. Softcover. Op. 4/7-12. 40 pages. Schott Music #SE 1050. Published by Schott Music