Mixed Ensemble.

(Parts). Carter E

This advanced work by Otto M. Schwarz is full of exciting time changes that follow affect the pulse rhythmically and melodically in exciting and unexpected ways. The solo trumpet's displays of technical prowess and bravura alternate with the film score- like sections of the piano. The slow almost elegiac central section can be performed on the flugel horn while the closing reprise demands that both the soloist give of their best as the piece comes to an exciting colourful and uplifting finale.

The well-loved Christmas Song (Chestnuts Roasting On An Open Fire) arranged by David W. Jepson for unaccompanied mixed voices with divisions in the Soprano and Bass voices.

Each movement of this mass incorporates folk melodies from a different country. The moods and the tempi of the originals have been altered; melodies have been unraveled spliced together and persuaded to modulate. SATB. Hatfield S

Scenes De La Csarda Op. 60 No. 8-Work for Violin and Piano by Jeno Hubay. Work for Violin and Piano by Jeno Hubay.

This empowering love song was bought to pop fame by both Sheena Easton and Bette Midler and featured in the soundtrack to Midler's film Beaches . This version is for SATB Choir.

In Beethoven’s Triple Concerto a piano trio provides the soloists – a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra but varies his treatment of the solo parts allowing each instrument to play alone with the orchestra (particularly the cello) using two solo instruments together in ever new combinations and finally bringing together all three instruments with the orchestra. Beethoven weaves a complex web – the orchestral piano violin and cello voices interplaying and entwining – and he produces a true masterpiece. Bärenreiter’s new Urtext edition ofBeethoven’s Triple Concerto is a completely fresh revision of this warm and beautiful showpiece. Errors abounded in all previous editions but with the assistance of three newly-discovered sources editor Jonathan Del Mar has cleaned up the text corrected wrong notes and rhythms and (for the first time since 1807) presented the work in a way that a musician of Beethoven’s day might have recognized with all necessary information for directing the piece included in the solo piano part. Piano reduction with separate parts for all three soloists Draws on three new sources Correction of many errors found in previous editions

Op. 125- With final chorus 'An die Freude' (Ode to Joy) Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven 's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven 's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers andcritics alike and has become the most widely used publication of the Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado. Full scores study scores and complete performance material to Beethoven ’s Nine Symphonies are available for sale.

Edited with additional material from the Salzburg version In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers. One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla. In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720-1791) who frequently worked for Mozart and his father. The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church's vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well. - Urtext of the New Mozart Edition - Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Book 1-Edited by Geoffrey Bush and Michael Hurd. 30 rounds and catches for equal voices from 18th- and 19th-century England.

(Full score). Macmillan J

Gluck's second French reform Opera Orphee Et Euridice was first performed in 1774. It was a reworking of a previous Italian opera that Gluck had composed in Venice in 1762 and which marked the begininning of Gluck's operatic reforms. He had the libretto translated from Italian to French and modified and recast the entire opera to cater to the taste of the French audiences. The present arrangement retains the original Flute part whilst the Piano is assigned the function of the Orchestral accompaniment. Gluck's second French reform Opera Orphee Et Euridice was first performed in 1774. It was a reworking of a previous Italian opera that Gluck had composed in Venice in 1762 and which marked the begininning of Gluck's operatic reforms. He had the libretto translated from Italian to French and modified and recast the entire opera to cater to the taste of the French audiences. The present arrangement retains the original Flute part whilst the Piano is assigned the function of the Orchestral accompaniment.

Book 6-Medieval Carols for 1-3 voices and/or instruments

Cet hommage musical au pianiste de jazz Count Basie qui fut et restera l’un des chefs d’orchestre de jazz (big bands) les plus connus au monde comprend quatre morceaux choisis parmi ses nombreux succès : Jumpin' at the Woodside The Wind Machine Li'l Darlin' et April in Paris .

for Eb Horn and Brass Band- Sunday in the Park was written for tenor horn virtuoso Sheona White and commissioned by her partner Matt Wade as a Christmas present. Composer Philip Sparke had known and admired Sheona’s playing for many years having produced her firstsolo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter Sheona in part modelling her sound on the singer’s sultry voice; so it was decided that this new solo would be a piece which whilstnot being a ‘Carpenters’ pastiche paid tribute to their relaxed style and rich harmonic language. Sunday in the Park opens with an accompanied cadenza for the soloist which leads to a gentle rhythmic melody with a laid-back feel. This istaken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax at which point the music unwinds until the original mood returns. A variation on the original melody leads to a shortcadenza from the soloist which brings the work to a peaceful close. Sunday in the Park was written for tenor horn virtuoso Sheona White and commissioned by her partner Matt Wade as a Christmas present. Composer Philip Sparke had known and admired Sheona's playing for many years having produced her first solo CD and written pieces for her previously. Both composer and performer are huge fans of the late Karen Carpenter Sheona in part modelling her sound on the singer's sultry voice; so it was decided that this new solo would be a piece which whilst not being a Carpenters' pastiche paid tribute to their relaxed style and rich harmonic language. Sunday in the Park openswith an accompanied cadenza for the soloist which leads to a gentle rhythmic melody with a laid-back feel. This is taken up by the band but the soloist sparks a change of mood by introducing a faster light rock interlude. This reaches a climax at which point the music unwinds until the original mood returns. A variation on the original melody leads to a short cadenza from the soloist which brings the work to a peaceful close.

Sinfonietta: The Town Beneath the Cliff was commissioned by Holmestrand Ungdomskorps from Vestfold in Norway. The work is in four movements: a spectacular fanfare followed by a ‘moto perpetuo’-like toccata. The third movement Hymn is a beautiful piece of music allowing the band to show its musicality and sound. The last movement Scherzo Finale opens with a short phrase from Holmestrand’s own ‘town song’ – Holmestrandsangen which comes again in full at the end of the piece accompanied by a florid passage based on the opening theme.

A work that has stood the test of time by one of the brass world's most important pedagogues Characteristic Studies for the Cornet should be part of any trumpet student's library. Within its pages the student will gain valuable insight on tonguing and the 24 characteristic studies will help the student to gain absolute control of technique articulation slurring and endurance. This work will prove helpful and beneficial to the developing student. First published in 1915 this is a work that has stood the test of time by one of the Brass world's most important pedagogues – Characteristic Studies for the Cornet should be part of any Trumpet student's library. Within its pages the student will gain valuable insight on tonguing and the 24 characteristic studies will help the student to gain absolute control of technique articulation slurring and endurance. This work will prove helpful and beneficial to the developing student. Herbert Lincoln Clarke was a well-known American Cornet player feature soloist bandmaster andcomposer. Clarke ’s legacy includes composing a portion of the standard repertoire for the instrument many recordings as well as a seminal school of playing which emphasized not only technical aptitude but also increased warmth and lyricism of tone. He also produced several method books that are still used by Brass students to this day.

Part of the Anglo Music Play-Along Series Philip Sparke’s 15 Easy Christmas Carols is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument this book introducesthe beginning player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. This book will provide invaluable additional material to complement any teaching method and includes both pianoaccompaniment and a demo/play-along CD.

Ten classical pieces arranged for Trumpet with Piano accompaniment by Andrea Cappellari .