for 5 horns

Danmark Synger Julen Ind - 10 Nye Danske Julesange (2015). A collection of 10 new Danish Christmas songs published by Edition Wilhelm Hansen and the Danish National Radio P2. Danmark Synger Julen Ind - 10 Nye Danske Julesange (2015). A collection of 10 new Danish Christmas songs published by Edition Wilhelm Hansen and the Danish National Radio P2.

Ouvertüre-Symphonic Band (score & parts). Offenbach J

A selection of 19 classic themes from legendary movies all arranged so that beginners can play them. The selection inculudes As Time Goes By Over The Rainbow and Love is and Many-Splendoured Thing.

Being a fascinatingly unique composer Olivier Messiaen pushes the conventions of composition to its very limits. The composer's music remains ever-popular and The Technique of my Musical Language provides the key and necessary knowledge in to the study of his delightful music. Olivier Messiaen (1908-1992) was admitted to the Paris Conservatoire at the mere age of 11 where he won many prizes. As a passionate ornithologist as well as organist and composer many of Messiaen 's works depict bird song. His music is rhythmically complex and harmonically and melodically distinct often using modes of limitedtransposition. It is for these reasons that the composer compiled The Technique of my Musical Language . The book contains text with musical examples describing unique elements of his music such as ametrical music his rhythmic notations and his modes of limited transposition among many others. For all fans of Messiaen The Technique of my Musical Language is essential to the understanding of the composer's much loved music.

Actus tragicus- Gottes Zeit ist die allerbeste Zeit (Mighty God His time is ever best) BWV 106 'Actus tragicus' Cantata for a funeral service. Since there are no original sources or documents concerning the first performance of the funeral cantata Gottes Zeit ist die allerbeste Zeit BWV 106 it is impossible to establish the year of origin of this work called Actus tragicus by Bach . The striking resemblance to the cantatas BWV 131 Aus der Tiefen rufe ich Herr zu Dir (presumably 1707) and BWV 71 Gott ist mein König (1708) – both of which were composed in Mühlhausen – suggests that the funeral cantata was also written in Mühlhausen in1707. Urtext of the New Bach Edition Performance material (BA10106) vocal score (BA10106-90) & study score format 22.5 x 16.5cm (TP1106) available for sale.

Adaptées à la Trompette Ut ou Sib au Cornet et au Saxhorn-Italian operatic tenor Marco Bordogni (1789-1856) received great success as a singer and teacher when he moved to Paris. His Vingt-Quatre Vocalises have remained popular so much so that G. Armand Porret saw the need to adapt the studies for brass instruments. In Porret 's arrangement which is adjustable to C or B? Trumpet Cornet and Saxhorn a handy transposition table is included. The Vingt-Quatre Vocalises enable the performer to focus on tone lyricism articulation dynamic contrast fingering and breath control among other significant aspects. Being notably versatile and having remained a popular aid to vocalists and instrumentalists for over two centuries it isclear that Vingt-Quatre Vocalises adapted for C or B? Trumpet Cornet and Saxhorn would be a crucial aid to a performer's progression. Italian operatic tenor Marco Bordogni (1789-1856) received great success as a singer and teacher when he moved to Paris. His Vingt-Quatre Vocalises have remained popular so much so that G. Armand Porret saw the need to adapt the studies for brass instruments. In Porret 's arrangement which is adjustable to C or B? Trumpet Cornet and Saxhorn a handy transposition table is included. The Vingt-Quatre Vocalises enable the performer to focus on tone lyricism articulation dynamic contrast fingering and breath control among other significant aspects. Being notably versatile and having remained apopular aid to vocalists and instrumentalists for over two centuries it is clear that Vingt-Quatre Vocalises adapted for C or B? Trumpet Cornet and Saxhorn would be a crucial aid to a performer's progression.

Cantata for Whit Monday- Also hat Gott die Welt geliebt BWV 68 Cantata for Whit Monday The cantata Also hat Gott die Welt geliebt was written for the second day of Whitsun in the year 1725 and is one of nine cantatas to texts by Mariane von Ziegler which chronologically speaking close the 1724/1725 cycle of chorale cantatas. The work is not really a chorale cantata at all but its spacious opening chorale movement induced Bach to keep it among the chorale cantatas when he later revised the order of the cycle. Urtext of the New Bach Edition Full score & performance material (BA10068) vocal score (BA10068-90) available for sale

Cantata for Whit Tuesday- Er rufet seinen Schafen mit Namen (He calleth His own sheep each by name) BWV 175 Cantata for Whit Tuesday The text of the present cantata was written by Mariane von Ziegler and was set by Bach for the third day of Whitsun in the year 1725. Bach made considerable alterations to the text when setting it. The pastorale atmosphere is created by three recorders through the inkoduction of which the opening words from the scriptures become a charming accompagnato; it is followed by an alto aria in the same orchestration - a combination that Bach uses nowhere else. - Urtext of the New Bach Edition - Performance material (BA10175) vocal score (BA10175-90) & study score format 22.5 x 16.5cm (TP1175) available for sale

1. Prélude-Piano. Dohnanyi E

from Symphony No 6-This beautiful melody is taken from the final movement of Beethoven's sixth symphony which has the title Shepherds' Song: grateful feelings towards God after the storm. Bring the classic period alive with this great arrangement by Philip Sparke.

SATB chorus

This splendid solo the aria O Mio Babbino Caro from Puccini's opera Gianni Schicchi was arranged by Georges Moreau for Ben Haemhouts who for many years has been the principal euphonium with the Belgian band Brassband Midden Brabant. This solo is quite simple and is a real enrichment of the euphonium repertoire. Also for saxophone solos or horn solos.

for violin viola and cello

Clarinet Violin Cello (Study Score). Gal H

Jazz Piano Studies 1 is directed at classically trained pianists in order to help them learn the basic expressive means applied in jazz. However the book is also useful for those who would like to play modern dance music. This collection of 25 enjoyable exercises and 3 longer compositions will help novices of the jazz Piano learn the tricks of the trade and provide the necessary grounding for their own improvisation. This edition is published in three language versions (Cz./Ger./Eng.).

Dvo ák ’s Serenade In E Major for String Orchestra is one of his most popular and frequently played works. It was written in the spring of 1875 when he had just experienced his first successes at the conductor’s podium and had received a state arts scholarship. The score and parts were published by Bote & Bock Berlin in 1879. This Urtext edition is based on the composer’s autograph score. It corrects mistakes found in the first edition and so for the first time the editor incorporates omitted passages from the autograph marking them with Vi-de. This reconstruction makes it possible to clarify the piece’s structure. The author of theForeword Kate ina Nová is head of the Dvo ák Museum in Prague. Detailed Foreword by Kate ina Nová (Cz/Eng/Ger) and Critical Commentary by the editor (Eng) Including Vi-de passages from the autograph score Full score & parts (BA10423) available for sale

The “ Petite Messe Solennelle ” is the finest work of Rossini ’s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the “Stabat mater” the mass is one of the composer’s most important sacred works. The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini ’s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements. The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation. - Based on the Urtext of the series “Works of Gioachino Rossini”. - Foreword in two languages (Eng/Ger). - With a separate Harmonium part and one part for Pianos I and II.

40 Progressive Studies-Following on from Starter Studies this collection generally contains longer pieces suitable for the developing young musician. Specifically tailored for each instrument Skilful Studies introduces the concept of phrasing by suggesting suitable breathing points and takes the player into new keys with extended instrumental ranges. New notes are introduced in a gradual and logical manner; woodwind players are taken into their second octave learning to cross the ‘break’ as smoothly as possible.Longer pieces suitable for the developing young musician. Skilful Studies introduces the concept of phrasing by suggesting suitable breathing points and takes the player into new keys with extended instrumental ranges. new notes are introduced in a gradual and logical manner. Woodwind players are taken into their second octave learning to cross the break as smoothly as possible and brass players have their range extended both upwards and downwards.

Für Klavier und Orchester- Johann Joseph Rösler (1771–1812) was a composer conductor and pianist who was active in Prague and Vienna. Later he was in the service of Prince Franz Joseph von Lobkowitz. His Piano Concerto No. 2 in E-flat major of 1803 is a fitting companion to the piano concertos of Beethoven; indeed his first Piano Concerto in D major was mistakenly attributed to Beethoven until 1925. Now Rösler’s second Piano Concerto is appearing in print for the first time. This is due to editor Alena Hönigová discovering and identifying an autograph score which is the only preserved source in the Prague Conservatory archive. In this Urtext edition Hönigová takes into account the distinctivefeatures of Rösler’s handwriting and the division of parts in the score as befits the performance practice of his day.