Debussy confidently wrote to his publisher Jacques Durand in August 1905: “I believe – without unwarranted vanity – that these three pieces will prove to be good and that they will take a prominent place in the literature of piano music … to the left of Schumann or to the right of Chopin … as you like it”. Debussy’s “Images” already popular during Debussy’s lifetime delight with their iridescent tone colour and dazzling harmonies “which reflect the newest discoveries in harmonic chemistry”. The virtuosic second series is notated throughout on three staves. In commemoration of Debussy’s 150th birthday Bärenreiter is publishing an Urtext edition of these piecesreflecting the most recent scholarship and source analysis. Clear presentation fingering by Tamara Stefanovich and valuable information on performance practice all offer optimal conditions for the study of the work. Urtext edition based on the most recent research Includes fingering by Tamara Stefanovich With a detailed foreword (Eng/Ger) and critical commentary (Eng) Tamara Stefanovich studied at the University of Belgrade at the Curtis Institute of Music and at the “Hochschule für Musik und Tanz” in Cologne. She has performed with the Cleveland Orchestra the London Philharmonic and the Chicago Symphony Orchestra under conductors including Esa-Pekka Salonen Vladimir Jurowski and Pierre Boulez and has recorded for Deutsche Grammophon. She performed Debussy’s “Images I” and “II” in 2011 for the “Klavier-Festival Ruhr”. Together with Pierre- Laurent Aimard she prepared the fingering for the “Klavier-Festival Ruhr” Bärenreiter Piano Album (BA 9659).

Unison. Nelson R

Suiten in G-dur und F-dur- The orchestra suite (earlier referred to as an overture) is in its style and the continuity of its movements far removed from the strict polyphonic form such as illustrated in the canzone and the fugue as well as from the more expressive style of the trio sonata or the later solo sonata. We have inherited a rich collection of suite music from the period 1680-1750 and it is important that we make use of it today. The obliging form of the suite makes it possible for every musician to play because it presents no technical problems another advantage being that the individual parts are easily filled. When played at home the parts are normally filled by strings but windinstruments of all kinds can be used in combination or instead of the strings. It is unnecessary to point out that the suite is an ideal form of music for school and amateur orchestra performances. More than any other type of composition it is recommended for musical instruction and especially when playing in an ensemble for the first practice in ensemble playing. - Johann Caspar Ferdinand Fischer 1656 - 1746 - Score with one of each part (Violin I II; Viola [da gamba] I II; Cello; Cembalo) and separate string parts available for sale

What a way to open any concert. The Black Horse Troopis one of John Philip Sousa?s best known marches and was described by the great Frederick Fennell as ?a regimental march of classic content and proportions one which serves as a model for all that are similar to it ...? Treat your band with this fantastic march.

‘Canzun’ is the Rhaeto-Romanic term for ‘song’ or ‘chant’. The work Canzun is based on two songs from the folk tradition of the Alps. In the middle movement we hear the Canzun della Sontga Margriata an old song from the Bündner Mountains about the legend of Saint Margriata. At the beginning and the end of the composition motifs from a Maria hymn from Vorarlberg can be heard. Thus two songs from neighbouring Alps regions are connected and developed together creating lively dynamic sections as well as lyrical lofty passages. The strength of the concert band gives room to wide expressive melody lines in many contrasting sound colours.

Preludio patetico [Version 1938] . BVN236 Preludio patetico [Version 1938] . BVN236

As the tile suggests Pop Plaza contains a turbulent market place full of favourite pop songs. In this varied selection you will find a mixture of both old and newer hits - something for everyone to enjoy. Contains: Every Breath You Take • Underneath Your Clothes • Lying in the Arms of Mary • The Most Beautiful Girl in the World •Ben • You Don’t Have to Say You Love Me • Wherever You Will Go • Beautiful • She Will Be Loved • Streets of London and more. In this varied selection you will find a mixture of both old and newer hits – something for everyone to enjoy.

Two Act Opera. Text: Bent Nørgaard Two Act Opera. Text: Bent Nørgaard

Cantata for Whit Monday- Also hat Gott die Welt geliebt BWV 68 Cantata for Whit Monday The cantata Also hat Gott die Welt geliebt was written for the second day of Whitsun in the year 1725 and is one of nine cantatas to texts by Mariane von Ziegler which chronologically speaking close the 1724/1725 cycle of chorale cantatas. The work is not really a chorale cantata at all but its spacious opening chorale movement induced Bach to keep it among the chorale cantatas when he later revised the order of the cycle. Urtext of the New Bach Edition Full score & performance material (BA10068) vocal score (BA10068-90) available for sale

Passacaglias Cicacona Canzonas Canzonettes. Edited by Josef Heder.

Symphonic Contrasts is an original composition in three harmoniously connected movements. The fi rst movement opens with a brilliant introduction and presents two themes that are developed simultaneously and become intermingled. The second movement is at a slower tempo and gives several soloists the opportunity to showcase their expressive skills. The last movement begins with a musical dialogue between timpani bongos and cymbals. Symphonic Contrasts has been selected as the set piece (2nd section - Brass Band) for the 2010 Lucerne Cantonal Band Music Festival Competition in Willisau (Switzerland).

for 14 saxophones (Sopranino SSSAAAATTTBarBarB)

For Tenor voice and Piano accompaniment in E Flat.

Alfred's Basic Adult Piano Course: Level Three further develops the highly effective 'all-in-one' concept introduced in Levels 1 and 2. Lesson pages that teach the fundamentals of music are re-inforced by Theory and Solo pages to provide a thorough musical learning education. Within one course an adult beginner can learn all that is needed to perform successfully.

Harpe - Le Verseau- 3 Pièces (for harp without pedal)

Mily Alexeyevich Balakirev's Islamey - Oriental Fantasy for solo Piano.

Dutilleux 's Chorale Cadenza and Fugue for Trombone and Piano has never found its way into the mainstream of Trombone repertoire yet it remains a frequent favourite at virtuoso solo competitions. Chorale Cadenza and Fugue is ideal for trombonists seeking something more substantial and varied. Henri Dutilleux (1916-2013) began his career as director of the Musical Illustrations Service on French Radio and Television but he left this position after 18 years to devote himself entirely to composition. As the title suggests Dutilleux 's Chorale Cadenza and Fugue is divided in tothree contrasting sections which run seamlessly from one to another. The piece begins with the Trombone playing a lyrical chorale melody accompanied by rich Piano chords. The cadenza is dramatic with the intense Trombone line being played over tremolos from the Piano. This is followed by the angular and rhythmic Fugue initially stated in the low register of the Piano. As the Trombone states the Fugue a countermelody is introduced on the Piano. These themes continue and augment into a virtuosic fanfare motif closing in a grand and dramatic finish. Dutilleux 's Chorale Cadenza and Fugue for Trombone and Piano is inspiring challenging motivating and essential to the repertoire of all advanced trombonists.

N003: Confidences D'Une Vieille Horloge- Written by Raymond Gallois-Montbrun Confidences D'Une Vieille Horloge is the third piece of a set of twelve called Janceline's dreams for Violin and Piano. Easy to play these twelve pieces were composed for beginner violinists to practise the use of the first position playing music. This piece will be really enjoyable to play for young players. The full set features: I. Quadrille des soldats de plomb / Lead soldiers' quadrille II. Complainte du petit bossu / Lament of the hunchback III. Confidence d'une vieille horloge / Confidence froman old clock IV. Sourire à Morphée / Smile to Morpheus V. Le manège des sept nains / Carousel of the seven dwarves VI. Chagrin près d'une fontaîne / Sorrow on a fountain VII. Polka du Rossignol / Bird's polka VIII. Siciliette Reine des siciles / Siciliette Queen of Sicilia IX. Minuetti Prince de la danse / Minuetti Prince of the dance X. Le jardin des ombres / The shadow garden XI. Remords de Carabosse / Guilt of the wicked witch XII. La ronde des Grillons / The crickets' rondo Raymond Gallois-Montbrun (1918-1994) was born in Indochine and studied music at the Paris Conservatoire. He received many first Prizes including the Grand Prix de Rome in 1944 and became the Director of the Paris Conservatoire for twenty-one years. He composed numerous pieces including many symphonic works.

Work first published in 1958.

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