Edited by Edwin Fischer

Paganini Variations - Piano Concerto No.3 (The original guitar-part arranged for piano and pianist Anne-Marie McDermott by the composer 2014).Programme note:In 1999 my friend American guitar virtuoso David Starobin wanted me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini´s famous 24th Caprice for violin solo a workwhich itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate but its inherent simplicity and logic just grow on you almost to the point of distraction - and the secret behindit being hauled through the wringer by composers as disparate as Liszt Brahms Rachmaninoff and Lutoslawski is perhaps found in its - what I´ll call with a quick nervous look over my shoulder: brilliant banality. You can do anything with thattune it´ll always be recognizable and just there however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner and everybody was happy. But the story didn´t endthere and it must be the ultimate proof of the durability of the theme not to mention the flexibility and far-sightedness of David Starobin when he 14 years latersuggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like wereit the one-and-only the real thing if you like.The orchestral score remains exactly the same in both cases. Both versions the two Paganini Variations are comparable to a set of twins not quite identical but almost. And both each others´s equal.Poul Ruders Paganini Variations - Piano Concerto No.3 by Poul Ruders . The original guitar-part (for Guitar Concerto No. 2) arranged for Piano and pianist Anne-Marie McDermott by the composer 2014. Piano solo part: WH32201C Parts are available for hire: hire@ewh.dk Programme note: In 1999 my friend American guitar virtuoso David Starobin wanted me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on NicoloPaganinis famous 24th Caprice for violin solo a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate but its inherent simplicity and logic just grow on you almost to the point of distraction - and the secret behind it bei

fur Flote Streichorchester Klavier Harfe & Schlagzeug- Jindrich Feld (1925-2007). Concerto for Flute and String Orchestra Piano Harp and Percussions. The Flute Concerto by Jindrich Feld (1925-2007) belongs among the most frequently performed compositions of its author. It was created in 1954 in close cooperation with the Czech Philharmony flutist Lutobor Hlavsa and its first interpreter was the famous French flutist Jean Pierre Rampal. The Orchestra arrangement is very special; the solo Flute is accompanied by Strings Piano Harp and Percussions. The Piano part of the concerto was prepared by the composer himself and it is now published in its fourth edition. The pocketversion of the musical score was printed in 1960.

Force a Superbe Mercy a Foible-This brilliant concert march was written to celebrate the 150th anniversary of the founding of Les Voltigeurs de Québec. The title of the work refers to the emblem of this Canadian regiment in which both the cross and the crown aredepicted. This piece aims above all to express the joy of this special anniversary. The melancholy trio section brings to mind more turbulent times and the trials and tribulations that the regiment has experienced at various points of its history.

An Opera for Young People-Eloise is a valuable addition to the opera repertoire for young performers. Suitable for schools or music and drama groups it has parts for singers of all ages and abilities and requires only a small instrumental ensemble. Its many memorable tunes are guaranteed to enchant both performers and audience.Based on a Nordic legend Eloise tells the story of a princess and her quest to reclaim her seven brothers who have been spirited away and turned into ducks by the witch Volhek and the evil drogmires.'Eloise' is a valuable addition to the opera repertoire for young performers. Suitable for schools or music and drama groups it has parts for singers of all ages and abilities and requires only a small instrumental ensemble. Its many memorable tunes are guaranteed to enchant both performers and audience.

Modes 5-8

Rush Hour was commissioned by the Swiss Brass Band Association (SBBV) on the occasion of the 38th Swiss National Brass Band Championships 2012 (Montreux SBBW) as the test piece in the Championship division.Structured in three parts without breaks the work opens in a heavy oppressive atmosphere sometimes even noisy. After a short passage in a lighter mood a quick tempo takes over the music becomes nervous and unrelenting with constant twists and turns. The tension builds leading to a slower movement in which various soloists are highlighted. A few humorous touches are heard in contrast to a majestic powerful and dramatic chorale. The end of this part is brighter andmore peaceful. This atmosphere is soon replaced by a return of the thematic material heard in the first movement developing into an oppressive moos. The piece concludes with a last ecstatic tutti reusing the harmonies of the introduction in a kind of final flurry. Rush Hour attempts to express the range of feelings we may experience when caught in various stressful situations in the middle of the rush hour.

Composed in 1956 by Henri Tomasi (1901-1971) French composer conductor and winner of the Grand Prix de Rome in 1927 this Concerto for Trombone and Orchestra has a strong French signature and lasts 16 minutes. The first movement starts with the Trombone and ends with a waltz theme the second movement is built on an ostinato that makes the Trombone sound more lyrical. The third movement is based on the two first ones with South American rhythms and ends with a virtuosic part played by the Trombone.

Roger Fayeulle's Bravaccio with solo parts in C and B flat). For Tuba Bass Trombone or Bb Saxophone and Piano accompaniment.

Spiritual-This traditional spiritual is treated in an expressive upbeat and playful manner in this arrangement. It is rhythmically challenging - a pervasive triplet feel with some interesting and unexpected twists. This wonderful spiritual is treated in an expressve upbeat and playful manner in this arrangement by David L. Brunner. Arranged for SATB Chorus a cappella.

True Love (Laska opravdiva) Written in 1875/1876 this 2 minute work is scored for male chorus (TTBB) and based on texts from Slovak folk poetry.

Trumpet Piano. Hasselmann E

Volume 1- Olivier Messiaen (1908-1992) is known for his unique composition style. Incorporating complex rhythms harmony melodies and his passion for ornithology his Catalogue D'Oiseaux for Piano is no exception to the composer's popular distinctive style. Messiaen became fascinated by birdsong from an early age however it wasn't until the 1950s that he took his passion to a new level incorporating birdsong in to all of his compositions. Catalogue D'Oiseaux composed in 1958 comprises thirteen movements each depicting a specific bird. The first volume contains the first three movements; 1) The AlpineChough 2) The Oriole and 3) The Blue Merle. Catalogue D'Oiseaux is essential to all advanced pianists seeking to expand and vary their repertoire.

Incredible professional comping over the changes of landmark Miles Davis compositions by a noted master including: So What (slow) So What (fast) All Blues Blue In Green Nardis Eighty One Freddie Freeloader and more!! Incredible professional comping over the changes of landmark Miles Davis compositions by a noted master including: So What (slow) So What (fast) All Blues Blue In Green Nardis Eighty One Freddie Freeloader and more!! Why you should consider this and other Aebersold piano voicing transcription books: Ever listen to a great jazz pianist and wonder 'what’s he doing there?' Now you’ll know! Here as never before is an opportunity to see REAL jazz piano voicings and comping over REAL songs in REAL live musical settings. These historic books contain NOTE-FOR-NOTE transcriptions exactly as recorded of the exciting piano accompaniment from the World FamousAebersold Play-A-Long series. Not just for pianists there are many ways for ALL MUSICIANS to use these wonderful musical tools. Pianists: First listen closely to the pianist on the respective Play-A-Long recording (sold separately). Next reading from the book play along with him imitating his style. Finally TURN HIM OFF (using the special stereo separation on all of our CDs) and play along by yourself with the bass and drums. With the techniques learned you’ll soon be improvising your own accompaniment! Non-Pianists: Horn players arrangers and vocalists can use these books like dictionaries to look up favorite voicings they’ve heard on a particular Play-A-Long track. Written clearly for two hands even the most novice pianist can play many sections of these books. Teachers/Educators: Give your combo piano students instant jazz voicings and harmonies over a variety of Standards and styles. As personal tools they will enhance your own understanding of voicings and voice movement and provide you with better skills for accompanying your students.

The title of this work Febesa refers to the four notes it is based on: F E Bflat (BES in Dutch) and A. At the beginning of the work the sound of these notes creates a mysterious extraordinary atmosphere. The work slowly builds from the low brass as the thematic torch is handed to the woodwind section and this leads into a grand tutti. In a tonal and refreshing allegro the febesa-theme now has a more harmonic role. After this passage the symmetric form of the work brings us back to the mysterious atmosphere of the introduction with solos for euphonium oboe and flute.

Leroy Anderson's The Syncopated Clock arranged for Male Voices (TTBB) by Michael Edwards.

Hvidbjerg-Drapa. Instrumentation: Mixed choir SSAATTBB 3.2.2.2/4.3.3.1/timp/2 perc/org/str. BVN343 Hvidbjerg-Drapa. Instrumentation: Mixed choir SSAATTBB 3.2.2.2/4.3.3.1/timp/2 perc/org/str. BVN343

Work for Trumpet Trombone and Orchestra. Work for Trumpet Trombone and Orchestra.

From the popular Gilbert and Sullivan operetta Mikado the song Three Little Maids From School is available here for SSA Voices with Piano accompaniment.

Zdenek Fibich (1850-1900) together with Bedrich Smetana and Antonín Dvorák is one of the most distinctive composers of the Czech musical Romanticism of the second half of the 19th century. The Sonatina For Violin And Piano in D Minor Op.27 comes from Fibich ’s early creative period. The author composed it in 1869 in Paris where he moved to after two years of study at the Leipzig Conservatory to continue his preparations for an artistic career. In the context of Fibich ’s chamber music works the Sonatina is one of his most played pieces and has become a permanent part of the Violin repertoire of beginning musicians. TheViolin part (fingering and bowing) was revised by Václav Snítil.