Dramma giocoso in two acts- In early 1787 Mozart made his first visit to Prague where he attended a performance of Le nozze di Figaro on 17 January and conducted the performance five days later. Thoroughly impressed by the huge success of his opera and the personal triumphs he had enjoyed during his visit he and his wife left the city on 7 February but not before he had concluded a contract to write a new opera for the next season. This contract signed with Pasquale Bondini the director of Count Nostitz’s National Theater led to the composition of his first opera for Prague Don Giovanni (K. 527). Ever since its première on 29 October 1787 the opera has moved audiences over andover again and has occupied a special position in Mozart’s rich and variegated output for the stage. Urtext of the New Mozart Edition Full score (BA4550-01) vocal score (BA4550-90) study score format 22.5 x 16.5cm (TP279) available for sale Performance material (BA4550-72) available for hire

For piano solo.

Cycle Apres Pentecote-Dom.14 Post Pentecoste-Orgue- 1.Introït; 2.Offertoire; 3.Elévation; 4.Communion; 5.Choral No.5

These arrangements incorporate various dance styles - from traditional ballroom dance - Foxtrot Waltz Quickstep through to Latin-American Cha-Cha and the more contemporary ubiquitous 'Smooch'. 'Strictly Come Dancing' for Brass!

'That sounds great - but I'm not advanced enough to play it!' is what all beginners think when they hear one of these Amazingly Easy Pieces by Barbara Arens. They are amazingly expressive sound amazingly difficult/sophisticated but are truly amazingly easy to play! No octaves or big chords no 'thumbs under' runs - and the fingerings help to let you read the pieces amazingly easily! And so after her brilliant One Hand Piano Arens has landed another Piano-Hit. Amazingly Easy Pieces are perfect for recitals - or for hours of self-expression alone on the piano.

Clair de Lune (transc. A.Périlhou); En Prière (transc. H.Busser); Sérénade toscane (transc. F.Ronchini) - for violin (or cello) and piano

A series of graded studies for the piano. Ideal as supplementary material for additional work between exams this book incorporates ideas and exercises from past masters such as Carl Czerny Camille-Marie Stamaty and Henry Lemoine.

The cycle Seven Early Songs on texts by Lenau Rilke Storm and other poets was put together in 1928 more than 20 years after the composition of the individual songs. From the large amount of songs for voice and piano that he had written in his early years Alban Berg selected seven of them which he then orchestrated. After serious consideration he laid down a definitive sequence in which the tempo constantly alternates while the orchestral instruments symmetrically recede before picking up again. Once the piano and orchestral editions were printed the Seven Early Songs quickly conquered concert halls in both scorings. They are still at home on the concert stages ofthe world today which is reason enough to present this work by Alban Berg in an Urtext edition following the Violin Concerto. The orchestral material can now be purchased for the first time.

Il pleure dans mon Coeur

De Haske is pleased to introduce a new way for you to maximize your teaching materials efficiently handle your library tasks and save money - all at the same time! THE YOUNG BAND CHRISTMAS COLLECTION is a compilation of some of our best Christmas Young Band selections published in a book format. Imagine being able to program your entire Christmas concert from one resource. All of these selections have proven to be winners from a teaching viewpoint in maintaining the interest of the students and by the incredible response of the audience. Curnow Music Press in know for its quality Christmas music on the Young Band level and the quality surely shines through in thispublication. The book format allows you to spend less of your valuable time sorting out music and it is easier for the students to keep track of as well. Purchase only the books you need for your ensemble's instrumentation! The value of this collection will be obvious in terms of money when it is compared to the cost of a single set of concert band music.

Cantata for the Second Day of Christmas- Telemann composed “ Gelobet Seist Du Jesu Christ ” (TvWV 1:612) for his cantata cycle of 1710–11. Although scored without Brass Instruments or Timpani the brilliant festive mood of the second day of Christmas prevails. The opening chorale and the final chorus form a frame for the four solo arias of the main section (ATB). Here too the choral numbers may be and usually are taken one to a part. The vocal score appears with a singing translation in English and suggested alternatives for the German text. - Urtext based on the latest findings of scholarship. - Straightforward and easy-to-play Piano reduction. - Duration:approx. 15 minutes. - Singing translation in English. - Full score (BA7676) and performance material (BA7676) available for sale.

The edition is part of the Trinity syllabus 2007 (grades 1 2 3)

Oboe Piano. Tull F

Vocal Score for Solo Soprano SAYB Choir and piano reduction

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. His collection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices. the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts. Book two contains three songs adapted from As You Like ItLike many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts. Book two contains three songs adapted from As You Like It

Carmen is the best known work by the French composer Georges Bizet (1838-1875). Criticised by the French public at the time of its creation because its plot was deemed indecent the opera nevertheless came to be considered as a major work due to its captivating melodies Spanish character and energetic rhythms. In this brilliant transcription for concert band Tohru Takahasi has remained faithful to the sparkling joyful atmosphere of the scenes from the opera.

A book of lip building and flexibility exercises.

A setting of verses from Psalm 42 (43) with Gloria Patri commissioned by the Schola Cantorum of The Cardinal Vaughan Memorial School London to mark the School’s centenary in 2014 (Latin text): ‘Send out your light and your truth; these themselves led me forth and they brought me to your holy mountain and to your holy place …’ Although composed for a school choir this is a significant addition to the corpus of Latin motets for mature performers by this composer. Predominantly homophonic in texture there is a range of moods tempi and dynamics over the work’s 4-minute duration exemplifying the youthful affirmation of the text.

(Full score). Rouse C

Davies's feeling for the potency and bravura of the clarinet goes back to works of the 1960s; his concerto for the instrument is predictably a big ranging piece in two linked movements. The first fast with a brief slowintroduction has the soloist in propulsive melodic flights slipping over into florid runs but it is a virtuoso piece for the orchestra especially for the marimba and pair of horns. The Adagio that follows is in the spare cold birdcall-riven style of other recent Davies slow movements exploiting first the clarinet's low register and then at its climax the instrument's high extremes. A cadenza leads to the coda where Davies introduces a Scots tune previously hinted at with which he brings the work to an end in F sharp major. Clarinet part with piano reduction of the orchestral score.