Let the Earth Now Praise the Lord-The well-known chorale Nun komm der Heiden Heiland ( Let the Earth Now Praise the Lord ) was written by Martin Luther in 1524 and derives from a translation of a hymn from the 4th century before Christ. The melody was composed by JohannWalter however Johann Sebastian Bach used it as a basis for many cantatas. This arrangement by Jacob de Haan gives your band the chance to perform an attractive version of this beautiful chorale.

Spirit of Andalusia was commissioned by The Glasgow Wind Band. The brief was to create a fascinating 5-minute opener however during the compositional process the piece started to take the form of a Spanish influenced composition. Thecomposer decided to stick to this involuntary development and started producing a tribute to Spanish music in particular Flamenco - which originates from the region of Andalusia. He uses exciting rhythms and colours from the musical culture.

Start Of Something New: Breaking Free: We’re All In This Together-Ask any child what their favourite film has been over the past few years and a large number will say High School Musical . The music is full of energy and emotion and has been an essential part of the films success. This fun-filled medley features three songs from the original film: Start Of Something New Breaking Free and We‘re All In This Together .

Arranged for High Voice with Piano Accompaniment

for Harpsichord and Strings- In early 1729 Bach became director of the so-called 'Scottish Collegium Musician' a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe). The Concerto in F minor BWV 1056 is the fifth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek Mus. ms. Bach P 234). It is one of those harpsichord concertos that reveal themselves to be transcriptions even though the original model is nowlost. - Urtext of the New Bach Edition - Full score & parts (BA5228) two-keyboard reduction (BA5228-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

(Full score). Finzi G.

Johann Strauss II's Wiener Blut or Viennese Blood Waltz Op.354 has been arranged here for solo Piano. Johann Strauss II's Wiener Blut or Viennese Blood Waltz Op.354 has been arranged here for solo Piano.

Authoritative Urtext edition of Johann Sebastien Bach's Brandenburg Concerto No.4 In G Major BWV 1049 . The six Brandenburg Concertos BWV 1046-1051 prized jewels of the world's musical heritage were written in 1721 during Bach’s appointment in Cöthen. Of the six works Bach originally wrote earlier versions of numbers 1 and 5 which differ not only with regard to articulation but also at times different tones different rhythms instrumentation and of course form. These Urtext publications [BA 5201-BA 5206] taken from the New Bach Edition now give performers the possibility to play these earlier versions perhaps even alongside theversion known today.

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

Contains 20 songs of comfort hope and encouragement for piano and voice or piano solo. Designed to help encourage and strengthen during solemn occasions this volume includes arrangements of such tunes as 'Abide with Me ' 'Does Jesus Care? ' 'He Leadeth Me' and more.

We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae solennes de Confessore K. 339 both call for four vocal parts two violins two clarini kettledrums basses (violoncello double bass and bassoon) three trombones and organ. They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomous unit; the Doxology atthe end is derived from the themes of the various Psalms. Urtext of the New Mozart Edition Full score & performance material (BA4893) vocal score (BA4893-90) available for sale

Aroldo number 22 of the 32 operas written by Verdi is certainly not one of the best-known works from the genius of Busseto. Written in 1857 it is in fact a remake of the 1848 opera Stiffelio which told a story of adultery and which was censored for its indecent content. Verdi found the censorship of Stiffelio unacceptable and with a performance in Verona approaching at the start of 1851 he wrote to his editor Ricordi: If my libretto is censored it will not be possible to obtain the effect I desire so I would rather wait until I can rewrite the last scene. But the modifications to Stiffelio did not stop there. The setting the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo Verdi no doubt succeeded in strengthening certain moments. However the fame of the three operas he had written in the meantime - Rigoletto Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

BWV 846-869-The Well-Tempered Clavier I BWV 846-869 - 48 Preludes & Fugues. Harpsichord Piano. Johann Sebastian Bach's idea of composing a collection of preludes and fugues in all major and minor keys was new and revolutionary in the second decade of the 18th century particularly when considering that the tuning in use up top then distributed pure and “impure” intervals irregularly throughout the keys. The result was that one could play very well in many keys but not at all in others. Bach was the first composer to conquer the entire breadth pf tonality in his Das Wohltemperirte Clavier (The Well-Tempered Clavier) thus providing the musical world with amasterpiece of keyboard literature. ”The ‘Well-Tempered Clavier’ is the Old Testament Beethoven's sonatas the New. We must believe in both.” Hans von Bülow The preludes and fugues of “The Well-Tempered Clavier” embrace an entire cosmos of compositional devices and musical characters – the “ne plus ultra” of ‘unity through diversity’. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history.

Glory Fanfare was commissioned by the Brass Band of Upper-Austria for the 2010 European Brass Band Championships in Linz and was performed as the fi rst piece in the gala concert. The double chorus of cornets is particularly ingenious and itsvirtuosic character adds to all the excitement. Modern elements such as funky bass lines played along with the drum kit help drive the festive atmosphere and create a piece that will captivate your audience from the word go!

Hercule le héros mythologique est célèbre pour avoir accompli Douze Travaux particulièrement difficiles. Hercules de Tom De Haes est une œuvre palpitante qui se caractérise par une trame constituée de motifs bien ciselés de rythmes complexes de mélodies fluides et expressives et d’un finale grandiose. Un vrai défi pour les musiciens et le chef !

16 intermediate Piano Duets in their orignal form written by 9 composers from the 18th 19th and 20th centuries. Each duet has been carefully edited and fingered for ease in performance by intermediate students. These duets can be used as supplementary material for any course of study. They are excellent repertoire selections for group lessons ensemble classes or monster concerts. Students will be motivated by music making with friends as they aquire security with tempo and rhythm provided by ensemble performance.

The series 'Bärenreiter’s Concert Pieces' presents a new edition of Allegro in G by Joseph-Hector Fiocco . All editions contain a solo violin part and a piano part for the piano 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 for successful first concerts. These editions form an ideal continuation of the Sassmannshaus violin school tradition and can be used in parallel from the third volume onwards or alongside any violin method. The series will be continued andwill introduce students to more demanding repertoire with a gradually increasing level of difficulty.

From Walt Disney Pictures' TARZAN-The unforgettable song Two Worlds was performed by Phil Collins inthe Disney movie Tarzan. The film has now been transformed into asell-out musical on Broadway which is soon to be performed in theatresaround Europe. Why not add a little Disney magic to your concert withthis lively arrangement.

De Materie-Part III-Study Score - Hawkes Pocket Score 1298. Andriessen L

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana . It was written between 20 November and 8 December 1874 but only in 1879-1880 with the completion of Má Vlast did it appear in print when Urbánek issued it in full score along with a version for Piano duet. Owing to the large number of misprints in the Urbánek first edition Hugh Macdonald has based this new edition on the autograph score with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentary alongwith a discussion of all editorial decisions. New Urtext edition with clear and uncluttered engraving. Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžíšová. Includes a detailed Critical Commentary (Eng).