For the first time the series 'Bärenreiter’s Concert Pieces' presents arrangements of concertos for viola and violoncello. The editions are an ideal continuation of the Sassmannshaus string methods but can of course also be used independently. Since concerto op. 35 only employs the first position it is suitable for beginners and young students. The piece has been transposed to make it easier to play. The concise foreword by renowned string pedagogues Christoph and Kurt Sassmannshaus introduces the work and points out its relevant technical requirements.

Pour Saxophone Alto seul / for Solo Alto Saxophone- Sophie Lacaze 's Voyelles (based on a poem by Arthur Rimbaud ) for Alto Saxophone. Black A white E red I green U blue O - in 1993 inspired by the verses of Arthur Rimbaud Sophie Lacaze chose the Flute's timbre to explore the latent births of the poem's vowels in Voyelles . In doing so she counters the bias that this supposedly translucent instrument is incapable of generating colour. Originally written for Flute and Voice Voyelles was later turned into a version for four Flutes and Reciter (2005) before being adapted ten years later for AltoSaxophone. Here again the instrumentalist can either say the text or work with a reciter. The composer retained the original's skilful arrangement built on the model of theme and variations. Each vowel corresponds to a note and a colour depicted through a specific technique that is indicated in the introduction and forms the theme. Each colour-vowel couple which starts on the associated note is played as a variation with a technique that evokes the poem's imagery: the Flatterzunge' recalls the buzzing of the brilliant flies the shivering umbels of the E are suggested by slow vibratos coupled with the sung voice while for the I the beat accelerates replicating the purple lips of laughter or anger. An alchemy of sound that begets miracles.

The antiquity of the text is suggested by introducing the primary melodic material in plainsong fashion by the keyboard. Within a few measures it takes on more modern dress in anticipation of the entrance of the voices. Unison or SATB. Rogers W

Jazz-Style Arrangements with a Variation- Broadway by Special Arrangement is a collection of eleven songs arranged for the instrumentalist wanting to play in a Jazz style -without the need to learn to improvise. The 'classically' trained amateur or professional performer or the intermediate-level student (III-IV) will enjoy playing these expertly arranged Broadway melodies just for fun or to include as a light piece on a recital or solo-feature concert performance. The ballads and medium-tempo and up-tempo swing tunes are arranged with a play through of the melody followed by a written-out 'variation chorus a return to the melody and an ear catching ending. The piano bass and drumaccompaniment CD will put you right in the band. The CD includes both the solo instrument with the accompaniment track and an accompaniment-alone track for each selection. The inexperienced performer can learn the appropriate style of playing and be comfortable playing in the jazz style before playing along with the rhythm section track. All of the instrument books are for the most part compatible with only minimal changes in the 'variation' section to accommodate the ranges (sometimes including octave options) and unique characteristics of the instruments -but all can be played together. The three-line piano accompaniment book provides a rhythmic 'comping' with chord voicing written out plus the flute part to help in following the soloist or even for the pianist to take a chorus. For the jazzer here is a chance to learn Broadway tunes and to explore playing ballads and the swing style of popular standards. Chord symbols are included to allow for improvisation. By combining his jazz-keyboard chops his 25 years as an instrumental instructor and his superb composing and arranging skills Carl Strommen presents a fully playable exciting and tastefully arranged collection of these immortal and memorable Broadway titles.

The Australian duo's slow-building hit second album now available for piano and voice with guitar chord boxes.

Adults will enjoy the ease with which they master these well-known tunes skillfully arranged for adults in their first year of piano study. Optional duet accompaniment parts enhance the richness of the musical colour.

a Remebrance of Viktor Harmann-Scholarly-critical Urtext edition based on all the sourcesDetailed foreword (Ger/Eng) and suggestions on performance practiceClear musical layoutThe catalyst for the piano cycle Pictures at an Exhibition composed in 1874 was a memorial exhibition held that year for the artist and architect Viktor Hartmann. He was a friend of Mussorgsky who had died in 1873. It is not only Mussorgsky’s most important contribution to the piano repertoire but through its relationship to Hartmann’s pictures and the translation of this idea into a composition the cycle holds a unique place in 19th century piano repertoire.Christoph Flamm an internationally renowned specialist of Russian music ofthe 19th and early 20th centuries has edited this Urtext edition for Bärenreiter. He has re-evaluated the sources and in the process has discovered surprising variant readings of the well-known musical text. The edition will meet the demands of advanced piano students teachers and pianists.

SS/A . Hatfield S

Op. 31 Mwv A 9- Psalm ' Non nobis Domine ' / ' Nicht unserm Namen Herr ' Op.31 MWV A 9 Mendelssohn's first great orchestral psalm took almost six years to complete from the initial sketches and the first version of 1830 to the final version of 1835. Its premiere which took place at the Leipzig Gewandhaus did not take place until 1838. Unlike his other orchestral psalms Mendelssohn took the Latin words from the Vulgate as his principal text which stems from Psalm 113. When he later prepared his own German translation he made use of Psalm 115 from the Luther Bible. This edition by the leading Mendelssohn authorityJohn Michael Cooper incorporates all the relevant sources. In accordance with the work's genesis the vocal parts are underlaid with the Latin text and the German text appears underneath. Rounding off this Urtext edition are an informative Foreword and detailed Critical Commentary. The piano reduction stems from Mendelssohn himself. - Informative Foreword in the score (Ger/Eng) - Text underlay in two languages (Lat/Ger) - Piano reduction by the composer - Full score & parts (BA9079) and vocal score (BA9079-90) avaialble for sale

(from the ballet Cinderella)- Six pieces from Sergei Profokiev's Cinderella Op. 102 for Piano.

Worte aus Also sprach Zarathustra-Study Score - Hawkes Pocket Score 879. Delius F

This hit for English group Dario G was the unofficial 1998 World Cup anthem that cunningly exploited the musical traditions of the many countries involved and featured a joyful face-painted video. Add a little football fever to your concert with this great arrangement by Stefan Rabe.

Young players of today are exposed to a variety of contemporary styles and this new series of jazzy and relaxing pieces for Recorder attempts to provide players with experience of the syncopated patterns of Jazz Rock and Pop music whilst keeping within technical bounds which will have been achieved at various grades. The Piano accompaniments are deliberately simple in order to encourage young players to act in this capacity.

This Barenreiter Urtext edition Vocal score of Mozart ’s insert and Concert Arias is based on the New Mozart Edition (NMA). The musical text presented in this edition is free from practical references on performance aspects or suggestions on performance practice. An accompanying booklet gives detailed explanations on the execution of appoggiaturas and other performance practice phenomena relevant to each aria. In addition there is a choice of suggestions for the performance of cadenzas and lead-ins as well as for the ornamentation of dal segno parts which are often found in the early Mozart arias. Underlaid textpresented in the original language only. All aria texts translated into German and English and printed separately. Idiomatic Piano reduction to the individual arias. Clear and legible layout of the musical text. Additional notes and suggestions on performance practice in the accompanying booklet. Performance material on hire to each aria(Please refer to the relevant volume for further information).

A collection of organ pieces (easy cadences preludes and postludes) by prominent composers from Bach to Bruckner.

for 3 trumpets 4 horns 3 trombones tuba in C and percussion

From Die Fledermaus the Du Und Du or You and You Waltz Op.367 remains one of Johan Strauss II's popular works. This piece has been arranged here for solo Piano. From Die Fledermaus the Du Und Du or You and You Waltz Op.367 remains one of Johan Strauss II's popular works. This piece has been arranged here for solo Piano.

Félicien Doyen the President of the Tornacum Royal Choir Circle of Tournai (Belgium) and a close friend of the composer commissioned this Mass. Missa Tornacum was originally composed for mixed choir and organ gave a memorable performance of thepiece in the Chartres Cathedral in France.Although it does not include the Credo the work is composed according to the traditional structure of a Mass in five parts : Kyrie Gloria Sanctus Agnus Dei and Ite missa est. En the first two parts adialogue is created between the choir and the band. It is followed by the Sanctus cycle (Sanctus - Hosanna - Benedictus) which is remarkable for the contrasts between the tone colorscharacterizing each of its three parts. The fourth part Agnus Dei takes on a tone of serene intimacy. A free counterpoint draws this section to a close by fading into an almost imperceptible quietness. Ite missa est begins with a series of imitations which develop into a majestic and cheerful passagemarking the end of the Mass. Choir parts are available separately.

E flat Major / Mi bémol Majeur / Es-Dur-The Hal Leonard Classical Play-Along series will help you play great classical pieces. Using the Amazing Slow-Downer technology included on the CD (adapted for PC and Mac computers) you can adjust the recording to any tempo you like without altering the pitch. Listen first to the full performance tracks to hear how the piece sounds with an accompaniment and then play along using the accompaniment tracks. Hal Leonard Classical Play-Along is an effectice and time-tested method of practising.

Variable Ensemble (Top Class). Evans C