When composing this work the brief from the commissioning band was for the composer to base the work on a chorale-like subject matter and this he has done with aplomb. In the very first bars a chorale melody is presented and gradually the samethematic material is more extensively orchestrated with the melodic themes becoming more varied. With afew surprising harmonic turns the piece comes to a majestic end. This is a well-structured work of extreme elegance.

DOWANI 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-long editions. DOWANI 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi.Thefirst thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral continuo or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practicepurposes with the solo instrument heard softly in the background at slow tempo. Finally you can play at the original tempo to the accompaniment of an orchestra piano or basso continuo.Allversions appearing on the CD were recorded live by renownedsoloists accompanists and orchestras. There are no synthesised sounds in a DOWANI edition!1 AllegroAndante cantabileAllegroThis Dowani 3 Tempi Play Along version of Haydn's Trumpet Concerto includes a CD with the concert version and 3 accompaniment 'play along' versions in three speeds.

Trumpet Organ. Tull F

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

RV 428 Il Gardellino in D Major-Antonio Vivaldi‘s Concerto in D Major for flute strings andbasso continuo (“Il Gardellino“) also belongs to the standardrepertoire of every flautist. DOWANI‘s 3 Tempi Play AlongEdition allows you to work through the piece systematically atdifferenttempi with a professional accompaniment. AllegroCantabileAllegroWith a Piano reduction of the Strings and Basso Continuo parts. CD with the concert version and 3 accompaniment 'play along' versions in three speeds.

Each book includes eight pages of full-color photo panels from the motion picture. Each book (except piano accompaniment) includes a CD with demonstration and play-along tracks for each title. Sure to be a hit with all instrumentalists. Titles are: Across the Stars (Love Theme from Star Wars: Episode II) * The Arena * Duel of the Fates (Featured Theme in Return to Tatooine) * Imperial March (Featured Theme in Confrontation with Count Dooku and Finale) * May the Force Be with You (Featured Theme in Return to Tatooine) * The Meadow Picnic * Star Wars (Main Title).This piano book is part of an instrumental series arranged for Flute Clarinet Alto Sax Tenor Sax Trumpet Trombone and Horn In F. It includes a specially designed accompaniment that can be easily played by a teacher or intermediate piano student. The instrumental solo part is included above the piano part.

SATB choir with Organ accompaniment.

E-moll Op. 64- Mendelssohn's Violin Concerto op. 64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the child prodigy' Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known. As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard. The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard. The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown. It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Léonard's playing and offers to lend his support in finding employment in Germany. This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice. The editor Clive Brown is an acknowledged expert on Romantic performance practice. - New source situation owing to recently rediscovered proofs - Revised Urtext edition - With a separate booklet on performance practice (BA9060) (Eng/Ger) - Full score in the revised early and late (popular) versions (BA9099)

Douze tubes planétaires de la musique pop.

Gerard Bunk was one of the greatest organists of the first half of the twentieth century. He developed his own characteristic style independent of Reger. His Organ compositions can be divided into individual freely-composed works character pieces choral introductions and six large-scale concert pieces. Volume 5 presents Bunk ’s late Organ works which are comparable in quality to the works of Max Reger and Sigfrid Karg-Elert. Harmonically bold and full of individual style the works provide one of the earliest examples of late Romantic style before the emergence of the Organ Reform Movement. For this Urtext edition comprehensivesource research has been carried out based on the latest musicological findings. Each of the volumes includes a foreword numerous facsimile pages and illustrations as well as a critical commentary.

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

Beethoven’s three sets of cello variations comprise the “Twelve Variations on a Theme from Händel’s Oratorio ‘Judas Maccabeus’” (WoO 45) the “Twelve Variations on the theme ‘Ein Mädchen oder Weibchen’” (op.66) from Mozart’s opera “Die Zauberflöte” and the “Seven Variations on the duet ‘Bei Männern welche Liebe fühlen’” (WoO 46) also from “Die Zauberflöte”. These works have existed in many different editions some of which have from time to time been (tacitly) reprinted with corrections to keep up to date with the latest scholarship. This new Bärenreiter Urtext edition however is the first to give all Beethoven’s rhythms in the violoncello part correctly.Beethoven’s autograph manuscript of op.66 is lost; the critical commentary (English) includes a complete facsimile of the violoncello part from the only surviving source (the first edition) illustrating the various problems encountered in determining the best musical text. With numerous corrections in the violoncello part Included in the critical commentary is a complete facsimile of the violoncello part of op. 66 as it appeared in the first edition

Ala et Lolly-Miiniature score version of Sergei Prokofiev's Scythe Suite Op.20 for Orchestra. This work was composed in 1914-15 and was first performed on 16th January 1916 at the Maryinski Theatre Petrograd conducted by the composer. Hawkes Pocket Score 636.

Overture-Gioacchino Rossini was a musical prodigy composing his first operawhen he was eighteen years old. At the age of 37 after having written39 operas in all he almost completely stopped composing anddevoted himself to the culinary art and the mysteries of wine! In hisopera L’Italiana in Algeri Rossini shows the difference in mentalitybetween two countries on both sides of the Mediterranean Turkeyand Italy. The exotic themes and oriental sound colours of thisopera have ensured that it is still loved today by a wide audience.This transcription for concert band retains the exotic and orientalfeel of the original opera.

This composition is written for the Dutch municipality Woensdrecht (Netherlands) at the occasion of it�s seven hundreth anniversary. �A celebrating village� is a stately composition based on a choral which can be if desired played with a choir.

These three pieces can serve perfectly well as a suite of sonatas - a coherent but varied whole - although in their original form they are unrelated. The adaptations have been kept to a minimum so that the true Bach is still abundantly present in the music. Contains: Prelude XXII from The Well-Tempered Clavier • Adagio (originally from the Sonata for violin and obbligato harpsichord in B minor BWV 1014 ) • Allegro from the Sonata for viola da gamba and harpsichord BWV 1028 .

Jan Van der Roost originally composed each and every note of ‘Slavia’ (as in case in ‘Puszta’ ‘Rikudim’ and ‘A Highland Rhapsody’). Consequently ‘Slavia’ does not contain any arrangement of existing tunes but is an original composition ‘in the style of…’. The introduction has an ABA structure and exposes a broad melodic line. Following a short cadenza there is a second movement in a fast and fiery tempo. The tempi increase gradually culminating in an exciting final climax making this ‘Slavonic Rhapsody’ a spell-binding experience to the very last note.

Hawkes Pocket Scores HPS 942-Study Score - Hawkes Pocket Score 942. Lees B

Fingerstyle Guitar Duets by Davide Mastrangelo and Val Bonetti for Learn&Play serie.

Horn Piano. Lees B