Piano Reduction- Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for violin and orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773. The piano reduction of Mozart’s D major violin concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages. The solo part gives players the critical Urtext of the New Mozart Edition. A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas 'Eingänge' and fermata embellishments. This collection offers players a spectrum of styles available in no other publication. Urtext of the New Mozart Edition Full score and parts (BA4866) violin & piano reduction (BA4866-90) and study score format 22.5 x 16.5cm (TP273) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the Symphonie concertante his special attention. On April 5 1778 he wrote to his father: Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon. Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned sinfonie concertante in his program. Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time. - Urtext of the New Mozart Edition - Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

Cette pièce est un voyage musical à travers l’Oregon État du nord-ouest des États-Unis. À bord d’un train de la Northern Pacific Railroad l’auditeur est invité à découvrir les paysages somptueux de l’Oregon. Au fil du trajet sur la route empruntée par les chariots des pionniers on rencontre des Indiens des cowboys et des chercheurs d’or. Et la musique prend la forme d’une aventure digne d’un western.

King Arthur is a five-movement suite based on the famous Arthur ledged. It forms part of the ‘Easy Band 4’ series in which all pieces have ten-part instrumentation (+ percussion) so can be performed by bands who do not have a full compliment of players. Bring a little Arthurian magic to your concert with this easy and exciting suite.

for 1 or 2 soprano recorders and guitar

Pastorale Héroïque In One Act- The heroic pastoral Daphnis et Eglé was performed only once on 29 October 1753 for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today. This edition is based on Rameau's autograph manuscript a copy of the separate parts and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version—which is actually more complete in its musical form in particular with its overture and two ariettas—but also reconstructs theoriginal state of the final divertissement (presented in the appendix) before it was revised. Urtext edition from the Rameau edition 'Opera omnia'. Full score (BA8862) and vocal score (BA8862-90) available for sale. Performance material (BA8862-72) available for hire.

Arranged and adapted by Andrea Cappellari. Easy duets. Each book included complet scores and solo part.

Op. 119 and Op.126-24 Bagatelles by Beethoven for Piano solo comprising Op.33 Op.119 and OP.126 edited by Eric Kuhlstrom. 24 Bagatelles by Beethoven for Piano solo comprising Op.33 Op.119 and OP.126 edited by Eric Kuhlstrom.

for ondes martenot and percussion

Psalm No.2 Why rage fiercely the Heathen Op.78 (1st & 2nd versions) Mendelssohn's Three Motets Op.69 and Three Psalm Settings Op.78 belong to the standard repertoire of many choruses and vocal ensembles. Our editions the work of two leading Mendelssohn specialists Hiromi Hoshino and Michael Cooper present these pieces in separate volumes reflecting the latest state of scholarly research. We also offer a separate edition of Psalm 91 For He shall give His angels charge in its original setting for eight-part a cappella chorus. (Mendelssohn later incorporated it into Elijah with an orchestral accompaniment). Eachedition contains the original German text and the English translation authorized by the composer himself. A two-stave reduction of the vocal parts has been added as an aid in rehearsal. Complete editions are available with critical reports and introductions in German and English. - Urtext at the forefront of musical scholarship - Complete editions with critical reports and introductions in German and English - With piano reductions for rehearsal purposes

Popular work for full organ by Henry Smart (1813-1879).

Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different forms such as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre. Rossini's Stabat Mater for SSTB. Following his early departure from the opera stage in 1829 besides chamber music Gioachino Rossini composed only larger scored works of church music. The Stabat Mater is among these. It was composed in two different phases between 1831 and 1841 and received its premiere in Paris in 1842. The text is fashioned as a prayer describing Mary’s pain in the face of the crucified Christ. Time and again the vivid language of this text a Latin poem probably from the 13th century has inspired settings by composers including illustrious names such as Pergolesi Joseph Haydn and Verdi. In 10 movements Rossini unites different formssuch as aria duet quartet and chorus an operaticaria-like style of writing as well as a strict a cappella style resulting in one of the highpoints of this genre.

700 Exercices: Gammes Et Arpèges is a guide for Alto Recorder by Roger Bernolin . Conceived to help players who have already gained instrumental technique this book offers different possibilities of studying from easy to very hard. It will benefit players if an exercise is played every day in different keys. A recommendation on how to exactly use this book is provided at the beginning in French English and German. If well-used 700 Exercices: Gammes Et Arpèges should really help progress on speed dexterity and sonority.

Cycle 1-SSS. Locklair D

Bärenreiter's Easy Concertos is a new series of the most popular short concertos for violinists who want to begin performing in public. The series begins with works by the composers Rieding Seitz and Vivaldi which are clear favourites amongst the first solo concertos played. The editions include a solo Violin part and a Piano reduction for the accompanist. The series is edited by Kurt Sassmannshaus the internationally renowned Violin teacher and co-author of the Sassmannshaus Violin school tradition. His forewords introduce these little gems and include tips to ensure successful first concerts. These volumes form an ideal continuation of theSassmannshaus school editions and can be used in parallel from volume three onwards: They can also be used to supplement any Violin method. This series will be continued and will introduce students to more demanding repertoire with an increasing level of difficulty.

'Blue Flute' is a collection of pieces in which various styles of 'twelve-bar-blues' are explored. The pieces are of moderate length and can be played by flautists of very modest ability. Chord symbols have been included in the middle section of each piece allowing freedom for improvisation.

Yellowstone Choral was inspired by the marvellous landscapes of the Yellowstone National Park in the United States. The choral comprises three choral phrases that alternate throughout the work. The beginning is lightly orchestrated with an oboe solo but more instruments gradually join in before the second phrase of the choral is introduced. The third phrase does not appear so quickly and when it does it is introduced by horns and trombones before building up to the climax of the choral where the trumpet takes the upper hand. After this the choral gradually fades away with the first and second phrases appearing just a few more times. The choral ends as it began with a slowly ebbing orchestration.

Création dans le cadre du concours du Conservatoire National Supérieur de Musique de Paris en juin 1974. Version orchestrale établie simultanément (ACF020629) Adagio ma non troppo Allegro quasi una cadenza Lento 5min15

Vegelin est le nom d’un des quartiers de la ville de Leeuwarden aux Pays-Bas. C’est au sein du Conservatoire de cette même ville que Jacob de Haan a effectué un brillant parcours musical. Les quatre mouvements de cette suite combinent des éléments caractéristiques de l’écriture classique à de charmants airs aux inflexions de la musique pop.

As with his march Fresena Jacob de Haan assimilated a well-known folksong from his province of birth (Friesland) into this swinging composition. Both works originate from a festival suite that he once wrote by order of this province.