During their secondary school days Karen and Richard Carpenter already had a band and won several prizes. In 1969 they recorded their first album. From that moment they have been part of the contemporary history of pop music. Top of the World is from 1973 but still an evergreen. Now also available for concert band in this arrangement by Urata.

The standout track and theme from the magnificant 1980 motion-picture musical Fame . Christopher Gore's sing along classic is set here for Piano and Voice with chord symbols and guitar boxes.

Adage Et Arabesque composed by René Berthelot is a piece for Alto Saxophone and Piano which lasts 4 minutes. The piece requires a strong level of Piano and Saxophone to be well-played. This composition begins with the Piano which is joined by the Alto Saxophone after two bars. It is divided into three main parts Andante Cantabile Listesso Tempo and Andante the third part is a replay of the first movement and finishes on a Piú Lento close. René Berthelot (1903-1999) was a French cellist conductor composer and musicologist. He composed numerous pieces especially for voices andchorals.

All the songs in The Voice of Desire are conversations between humans and birds. In each case the birds seem to have a more sophisticated viewpoint that their human hearers. One of the highlights is Written OnTerrestrial Things set in a dead landscape at the dead of winter. Suddenly a joyus thrush melody breaks out it's ecstatic expression is completely at odds with human perceptions of such a dismal evening has nature somethingto remind us if only we'd listen. The song cycle was commissioned by the BBC for Alice Coote and first performed by her and Julius Drake (piano) in a BBC Proms Chamber Music concert in London on 11 August 2003.

This booklet is designed for young children. Developed after several years of teaching and research it aims to present the essential concepts of music theory.

cis-Moll- The Messe solennelle op. 16 for mixed choir and two organs by Louis Vierne was composed in 1899. At its world premiere in St. Sulpice in December 1901 Charles-Marie Widor played the main organ and Vierne the choir organ. The work belongs to the highlights of the late Romantic organ masses and more-over is comfortable for the choir to sing. The present edition is based upon the first edition that was published in 1900 by Pérégally & Fils in Paris. Due to practical reasons a performance with two organs is often not possible therefore parallel to the original edition the publishers have also published an arrangement for choir and one organ by ZsigmondSzathmary. Additional editions in the Series Choir & Organ Louis Vierne's Messe solennelle en ut dièse mineur (Op.16; cis-Moll) for SATB and Two Organs. The Messe Solennelle Op. 16 for mixed choir and two organs by Louis Vierne was composed in 1899. At its world premiere in St. Sulpice in December 1901 Charles-Marie Widor played the main organ and Vierne the choir organ. The work belongs to the highlights of the late Romantic organ masses and more-over is comfortable for the choir to sing. The present edition is based upon the first edition that was published in 1900 by Pérégally & Fils in Paris. Due to practical reasons a performance with two organs is often not possible therefore parallel to theoriginal edition the publishers have also published an arrangement for choir and one organ by Zsigmond Szathmáry.

Gustav Mahler is probably one of the most important composers of late Romanticism. His symphonies are emotional extravaganzas of hectic near neurotic movements on the one hand and extremely beautiful melodies and wonderful choral music on the other hand. This Adagio from his 6th symphony which has been arranged in a majestic way by Georges Moreau is a perfect example.

18 Original Works & Transcriptions- Romantic Guitar Anthology Vol.3 is a graded repertoire book suitable for students of c.5-7 years of playing experience. Well-established teaching pieces by leading 19th Century composer-guitarists Carcassi and Giuliani are presented alongside more rarely available works by José Ferrer and Johann Kaspar Mertz. Also included are carefully selected transcriptions of works by Schumann and Johann Strauss. Composer biographies and extensive teaching notes on each piece are included together with a CD recording of all of the works in the anthology performed by Jens Franke.Also available: Baroque Guitar Anthology: Vol 1 - ED 13357 Vol 2 - ED 13437Vol 3- ED 13446Vol 4 - ED 13489Romantic Guitar Anthology: Vol 1 - ED 13110 Vol 2 - ED 13111 Vol 4 - ED 13113

Arranged for Piano and Flute-Cesar Franck’s Sonata for Piano and Violin is one of the most treasured works in the violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work wascomposed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.After Franck’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for flute in 1910. However it has not been possible to locate any copy of this publication. That the fluteversion of Franck’s Sonata has found a permanent place in the chamber music repertoire is primarily the achievement of Jean-Pierre Rampal who frequently performed his own arrangement of the work.There were no idiomatic violin techniques to overcome and the cantabile solo part with its broadly arched melodies seems perfectly natural on a wind instrument. The present flute arrangement largely adopts the original violin part unchanged merely transposing those passages that go beneath the flute’s range. In such cases the change of register begins early enough to avoid disruptions to the melodic line and the musical context. The balance between the solo instrument and the(unaltered) piano accompaniment remains intact. The edition is rounded off by an informative text on the genesis and reception history of the sonata (Ger/Fr/Eng). Cesar Franck ’s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe. After Franck ’s death in 1890 the original publisher of the Sonata the Parisian house Julien Hamelle announced an arrangement of the work for Flute in 1910. However it has not been possible to locate any copy of this publication. That the Flute version of Franck ’s Sonata has found a permanent place in the chamber musicrepertoire is primarily the achievement of Jean-Pierre Rampal who frequently performed his own arrangement of the work. There were no idiomatic Violin techniques to overcome and the cantabile solo part with its broadly arched melodies seems perfectly natural on a wind instrument. The present Flute arrangement largely adopts the original Violin part unchanged merely transposing those passages that go beneath the Flute’s range. In such cases the change of register begins early enough to avoid disruptions to the melodic line and the musical context. The balance between the solo instrument and the (unaltered) Piano accompaniment remains intact. The edition is rounded off by an informative text on the genesis and reception history of the sonata (Ger/Fr/Eng).

'Schenkt Man Sich Rosen' aus der Operette 'Der Vogelhandler' von Carl Zeller.

9 Intermezzi

“A tiny voice is rising carried on the wind. A simple song of reason. Will we let it in? Listen to the children.” This simple yet profound opening statement sets the stage for this inspirational song.

Shortly after the Second World War a combative movement of Danish Belgian and Dutch artists chose the cobra snake - extremely dangerous yet considered sacred - as a symbol of their resistance to strict guideliness of form. The name Cobra also happens to contain the first letters of the cities Copenhagen Brussels ans Amsterdam from where most of the movement's members came. The Cobra movement which existed from November 1948 until November 1951 can with some justicication be called the last major avant-garde movement of the 20th century.The source of inspiration for the composition Cobra comes from four paintings: Obhobning by the Dane Egill Jacobsen; La jeune fille et lamort by the Belgian Pierre Alechinsky; Orgeldraaier and Le rythme joyeux de la ville by the Dutch artists Karel Appel and Corneille. Obhobning means pile-up which is represented musically in the first part by a melodic and harmonic pilling up of perfect fourth's. The first part is also characterized by a rhythmic feeling which the painting gives through its use of numerous black stripes. In the painting La jeune fille et la mort Pierre Alechinsky places a young girl opposite Death. The second part features the constantly pulsating motion of live while a creeping dark melodic line develops. The tension between life and death is tangible as a battle reveals itself. In part three one hears the Orgeldraaier by Karel Appel as cheerful and playful as an organ grinder's music. The painting Le rythme joyeux de la ville by Corneille is busy and extremely dynamic a perfect source of inspiration for a powerful rhythmic ending to this composition.

Piano. Gorecki.

Vocal Score-Chorale settings form a central part of Telemann’s œuvre. His 1754 setting of the church hymn Christus der ist mein Leben based on Melchoir Vulpius’ melody from the Hamburg Hymnal is especially well-suited to display his mastery in depicting thewords of the chorale. The so-called “Ausfüllungsbass” (a vocal bass added to the principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches. This is the first Urtext edition of this highly successful chorale setting which is based on Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part. First Urtext edition based on Georg Philipp Telemann Musical Works. An attractive addition to the repertoire with a view to the Telemann Year 2017. Bilingual Foreword (Ger/Eng). Uncluttered idiomatic Piano reduction. Full score and parts (BA5897) and vocal score (BA5897-90) available for sale. Chorale settings form a central part of Telemann ’s œuvre. His 1754 setting of the church hymn Christus Der Ist Mein Leben based on Melchoir Vulpius’ melody from the Hamburg Hymnal is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass added tothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches. This is the first Urtext edition of this highly successful chorale setting which is based on Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part.

The Dutch town of Weert was originally (in 1062) called Wherta and is derived from the Dutch word ‘Waard’. The small town’s value is its high location in the middle of a marshland. The work describes the history of how Belgium and the Netherlands fought a long battle to gain possession of the town during the revolution in the Low Countries in the 16th century. To illustrate this Willy Fransen brought together parts of the Dutch and the Belgian national anthems in a subtle manner. This work is dedicated to the Municipal Brass Band of Weert.

Bavarian Pictures is the successor of A Bamberg Fantasy but is more difficult and more complex. In this innovative work the composer has endeavoured to combine traditional tonal elements with innovative elements from the competition repertoire. This composition is based on Bavarian folksong which are interwoven through the composition in various ways.

Organ Music for Lent-This compilation contains a collection of works by 20th century American composers that have all been composed especially for use during the lent and Easter.

Mesures simples (compl. du 1er cahier)- étude Du Rythme is an educational tool proposed by Georges Dandelot (1895-1975) a French composer agreeing with the concept that rhythm is the foundation on which melody and harmony are then layered. It was conceived to progressively teach musicians how to deal with complicated rhythms such as those used by Bartok or Ravel. This volume is the fourth out of five composing a step-by-step method to learn and master rhythm in music. It follows on the knowledge acquired in the three first volumes and uses complex combinations of rhythms and melody with binary and tertiary tempos.

Haydn's Insanae et vanae curae for SATB. For the revival in the Burgtheater Vienna in March 1784 Haydn modernized his oratorio 'Il ritorno di Tobia'. He added the choruses 'Ah gran Dio' and 'Svanisce in un momento' the second of which called 'Der Sturm' was reworked in the sacred motet 'Insanae et vanae curae'. This was an authentic or an authorized parody.