AATB recorders

pour chant & piano-This monograph collection contains art songs by Francis Poulenc for voice and piano in the original tonic key on poems by Guillaume Apollinaire. This collection in chronological order uses Poulencs original lyrics published in the Durand Salabert Eschig catalogue. Preface in English and French by Nicolas Southon. Contents: LE BESTIAIRE ou CORTÈGE D´ORPHÉE (Le Dromadaire La Chèvre du Thibet La Sauterelle Le Dauphin L´Ecrevisse La Carpe) QUATRE POÈMES (L´Anguille Carte postale Avant le cinéma 1904) DEUX POÈMES (Dans le jardin d´Anna Allons plusvite) LA GRENOUILLERE BLEUET BANALITÉS. CINQ MÉLODIES (Chanson d´Orkensie Hôtel Fagnes de Wallonie Voyage à Paris Sanglots) DEUX POÈMES (Montparnasse Hyde Park) DEUX MÉLODIES (Le Pont Un Poème) ROSEMONDE LA SOURIS (extrait de Deuxmélodies).

The second of eight authoritative volumes that together comprise the complete Organ works or J.S. Bach presented in scholarly Barenreiter Urtext editions suitable for both academic study and performance. Volume two contains the Organ chorales from the Leipzig manuscript.

Pour Flûtes à Bec en Ut (Ou Traversières) Luth (ou Clavecin) et Viole De Gambe- From the collection The Ancient Flute by Jean-Claude Veihlan Folie D'Espagne is a piece for Recorder and Lute Harpsichord or Viol. Initially part of the 'Second Book Of Pieces For The Viol' by Marin Marais this work contains 32 verses and requires advanced skills and technique (rapid rhythms accidentals). It is based on The Follies Of Spain in terms of tune theme and rhythms and this edition also includes the parts for the Flute alone. Marin Marais (1656-1728) was a French composer and master of the Viol. He wrote many pieces for the Viol some triopieces and some orchestras. Jean-Claude Veihlan is a French musician and woodwind professor who recorded numerous pieces from famous composers. He transcribed many pieces that he adapted for the Recorder.

for drum kit (French German and English text)

Wolfgang Amadeus Mozart 's (1756-1791) Flute Concerto in D is an adaptation of the original Oboe Concerto in C which the composer reworked in 1778. The Concerto remains widely studied and performed on both instruments making it one of the more important Concerti in the woodwind repertoire. Concerto in D is in three movements; 1. Allegro aperto 2. Adagio non troppo and 3. Rondo: Allegretto. The first and last movements are in the tonic key whilst the second movement is in the subdominant key of G major. All three movements contain a cadenza which initially would have been left forthe performer to improvise. However cadenzas have since been written including those of Johannes Donjon (1839-1912). Donjon was a prominent flautist of his time and his understanding of Mozart 's Flute Concerto in D is second to none making his cadenzas well-informed and essential to performers of the concerto.

Cellist conductor composer and musicologist René Berthelot (1903-1999) was influential in leading the Orleans Conservatory to obtain a high profile reputation. His Variations Brèves for Horn and Piano contribute to a significant catalogue of compositions by the composer. Published in 1973 a typical performance of Pastoral And Rustic Dance lasts around four minutes. Characteristics include complex rhythms variation in time signatures and much contrast between the variations. Suitable to advanced Horn players Berthelot 's VariationsBrèves is suitable to advanced Horn players providing an exciting alternative performance work.

1.Danse lyrique; 2.Danse barbare

This composition was conceived in the period of 1997 to 1998. There is also a version for female choir a cappella dedicated to Violetta Bieleka and Schola Cantorum Bialostociensis from Bialystok who had performed the premiereat the concert hall of F. Chopin Academy of Music in Warsaw on 27 February 1998. This version is for unaccompanied SATB chorus with divisions and includes a Piano accompaniment for rehearsal purposes.

The first three movements of Johannes Brahms ’ E Minor Cello Sonata were composed in 1862 the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms ’ life however it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann’s advocacy of the work which seems to have contributed greatly to its promotion. Of particular value to the editors were the three early performance editions of the Cello Sonata Op.38 by Cornelius van Vliet andEdwin Hughes Hugo Becker and Carl Friedberg as well as Julius Klengel. The cellists’ van Vliet Becker and Klengel’s fingering and bowing allows for a better understanding of their performance practice. As such the Bärenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms ‘ contemporaries. We also provide an unmarked urtext part. An important part of this edition is the extensive preface. Firstly it informs about the works‘ origins early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms ‘ death a widening gulf developed between the composer’s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms ‘ notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation. - A pioneering Urtext edition. - With an unmarked Urtext part. - With a second part including fingering and bowing based on the practices of contemporaries of Brahms . - With an extensive Performance Practice Commentary. -

Blue Piano has become an established favourite inspiring many concert and YouTube performances. For middle-grade players and beyond. On the website you will find demonstration performances and minus-one tracks for playing along which may also be freely downloaded.

William Ross (1878-1966) joined the Scots Guards as a Piper in 1896 and served in both the Boer war and the Great war before becoming an instructor at the Army School of Piping. His Collection Of Highland Bagpipe Music - Book 3 was one of 5 compilations of Bagpipe tunes and includes over 40 Marches Reels Jigs and Airs. With over 50 years of teaching and competing Ross is often said to be the most influential Piper of the century. This expansive volume certainly helps to cement that title!

This festive medley of everyone’s seasonal favourites is sure to be a winner this holiday season! The Twelve Songs Of Christmas is a superb arrangement by Jay Althouse for 2-part (Soprano and Alto) Voices with Piano accompaniment. This great mixture of popular and less familiar songs is a great substitute to the often overplayed Holiday programmes. Approximately 7 minutes long the medley contains excerpts from the following 12 carols: Deck the Halls ; Good King Wenceslas ; March of the Kings ; It Came Upon a Midnight Clear ; What Child is This? ; We Three Kings of Orient Are ; SilentNight ; Rise Up Shepherd and Follow ; Go Tell It On The Mountain ; Hark! The Herald Angels Sing ; Joy To The World and Hallelujah .

Songs by George Butterworth CONTENTS Bredon Hill (C - G) Is my team ploughing? (E flat - E flat) Lads in their hundreds The (C sharp - E) Look not in my eyes (C - F) Loveliest of trees (C sharp - F) O fair enough are sky and plain (B flat - E flat) On the idle hill of summer (C sharp - F) Think no more lad (C sharp - E) When I was one and twenty (D - E) When the lad for longing sighs (D - E) With rue my heart is laden (C sharp - E)

Words and Music by Paul McCartney. Arranged for piano and vocal with guitar chord symbols and boxes.

Mozart's beautiful Cradle Song for unison chorus arranged by J. Michael Diack with text by Edith Clegg.

Herbert Howells ' A Spotless Rose is a carol for SATB a cappella. A Piano accompaniment is scored for rehearsal use.

This antiphon was created during the period of 1996 to 1998. It is dedicated to Jan Lukaszewski and the Schola Cantorum Gedanensis the ensemble which performed the piece for the first time in 1997 at the Gaude Mater VIIInternational Sacred Music Festival. For unaccompanied SATB chorus with divisions and includes a Piano accompaniment for rehearsal purposes.

Authentic guitar transcriptions from the album in tablature and standard notation. Includes Keep The Faith Livin' On A Prayer and Blaze Of Glory .

The Library of Showtunes is a treasury of the greatest songs from the world s most loved musical shows. This collector's volume spans over 85 years of Broadway and West End musicals. The Library Of Showtunes is a treasury of the greatest songs from the world’s best-loved musical shows. This collector’s volume spans over 85 years of Broadway and West End musicals giving you a vast number ofthe greatest showstoppers all arranged for Piano Vocal and Guitar. From pioneering classics like Guys And Dolls Oklahoma! and Sweet Charity to modern favourites like The Phantom OfThe Opera Wicked and The Lion King every kind of musical show is represented by what are universally hailed as the finest songs of the genre. Every one of these amazing songs is arranged with Piano parts vocalmelody and Guitar chord boxes and symbols. Taken together the songs included in The Library Of Showtunes comprise nothing less than the history ofthe stage musical told through outstanding numbers that often became hits in their own right as well as advancing the wonderfully colourful stories told on stage. From Summertime to Over The Rainbow and from Can You Feel The Love Tonight to I Dreamed A Dream these incredible tunes are essential playing for all fans of musical theatre. The stage musical was born on Broadway in the early years of the 20thcentury as a drama where the story and the music complemented one another. No longer just a series of songs linked by a flimsy plot these new musicals had substance. Early classics like Show Boat and Carousel were not afraid to use tough source material and they led the way for what would become a wildly popular art form that could tackle any subject and in the end be conceived just as successfully in Europe as the United States. Celebrating the passion emotion and dramatic power of the stage musical The Library Of Showtunes is both a joyful celebration and an enduring reference book allowing you to bring the power and beauty of