Tragédie en un prologue et cinq actes- The first version of “Dardanus” which was performed at the end of 1739 was composed apparently in only six months and marks a particularly productive phase in Rameau’s career. In a period of only six years five of his major works were performed at the Académie Royale de Musique in Paris. The theme is taken from Greek mythology: the opera describes the war between Teucer (the future founder of Troy) his Phrygian people and the army of Dardanus. A milestone of French Baroque opera in a performance practice orientated vocal score With a brief foreword (Fr/Eng) containing salient information on the genesis of the work the synopsis and the edition Full score (BA8854) and vocal score (BA8854-90) available for sale Performance material (BA8854-72) available for hire

This comical little piece in C position features a simple rhythmic notation that demands counting due to the rests! This comical little piece in C position features a simple rhythmic notation that demands counting due to the rests!

No. 1 O Know to end as to begin-SATB. Fine I

Cantata for Whit Sunday-In 1717 Telemann composed his cantata “Gott der Hoffnung erfülle euch” for the first day of Whitsun based on a text by Erdmann Neumeister. It forms part of the “Concerten-Jahrgang” also known as “Das Harmonische Zion” or “Italienischer Jahrgang” where all the cantatas are conceived as concertos for vocal and instrumental parts and have been colourfully scored. This particular work includes two oboes two Corni da Caccia and strings. Vocal soloists choir and instruments alternate and have equal musical standing in this festive Whitsun cantata which provides a valuable addition to the church service or concert repertoire. Cantata for Whit Sunday In 1717 Telemann composed his cantata “ Gott Der Hoffnung Erfülle Euch ” for the first day of Whitsun based on a text by Erdmann Neumeister. It forms part of the “Concerten-Jahrgang” also known as “Das Harmonische Zion” or “Italienischer Jahrgang” where all the cantatas are conceived as concertos for vocal and instrumental parts and have been colourfully scored. This particular work includes two Oboes two Corni da Caccia and Strings. Vocal soloists choir and instruments alternate and have equal musical standing in this festive Whitsun cantata which provides a valuable addition to the church service orconcert repertoire. Urtext edition based on “Georg Philipp Telemann Musical Works” Cantata for the first day of Whitsun Ideal for church services and concerts An attractive addition to the repertoire with a view to the 250th anniversary of Telemann ’s death (2017) Full score & parts (BA5898) and vocal score (BA5898-90) available for sale

The main theme is introduced quite subtly in the beginning and then the instrumentation gradually widens and all groups ultimately join in together. This leads to an impressive climax which gradually fades away just as it arrived. This innovative concert march is extremely suitable for young and dynamic ensembles and allows you to develop the sound and manner of playing.

Mid-Elementary Level-10 catchy pieces (with humorous text) written especially for boys! Titles include: - Wise Old Owl - Jolly Little Jeep - The Lonely Ocean - G I Drill - The Wrecking Ball - Submarines. 10 catchy pieces (with humorous text) written especially for boys! Titles include: - Wise Old Owl - Jolly Little Jeep - The Lonely Ocean - G I Drill - The Wrecking Ball - Submarines.

This series for the adult Piano student offers a carefully leveled variety of solos and duets in an assortment of musical styles. The diverse choice of original music and arrangements from the beginning to intermediate levels provides the perfect means for the adult Piano student to discover and enjoy playing music from many different genres. This series for the adult Piano student offers a carefully leveled variety of solos and duets in an assortment of musical styles. The diverse choice of original music and arrangements from the beginning to intermediate levels provides the perfect means for the adult Piano student to discover and enjoy playing music from many different genres.

The songs of Elton John have been in the charts for over thirty years. This medley combines three instantly recognisable melodies: Nikita Blue Eyes and Don’t Go Breaking My Heart. This work will prove a favourite with both players and audience.

While this piece is full of suspense the swing eighths syncopations and triplet figures give it a sense of fun. An ascending chromatic scale and a chord passage that moves in half-steps help give this piece a spooky effect. Cool Ghouls also contains a variety of articulations including staccatos slurs and cross-hand playing to be both entertaining and instructive. While this piece is full of suspense the swing eighths syncopations and triplet figures give it a sense of fun. An ascending chromatic scale and a chord passage that moves in half-steps help give this piece a spooky effect. Cool Ghouls also contains a variety of articulations including staccatos slurs and cross-hand playing to be both entertaining and instructive.

Koen Pletinckx always surprises us with the freshness and youthfulness of his compositions for dynamic orchestras. Once again he has succeeded in mixing pop elements attractive melodies and a good beat in a beautiful composition called Poppy Times. It�s fun to play and a catchy tune: the audience will be delighted.

Hear medieval minstrels come and play as rhythmic open fifths introduce the airy singing melody. The left hand plays a continuous ostinato while right-hand embellishments and thirds add melodic interest. This texture demands a delicate touch. Hear medieval minstrels come and play as rhythmic open fifths introduce the airy singing melody. The left hand plays a continuous ostinato while right-hand embellishments and thirds add melodic interest. This texture demands a delicate touch.

Fulvio Caldini presents a lovely little solo for oboe and piano (or harp?) in a first edition. It is possible that this virtuoso piece had been conceived as part of a sonata. Although the completion of the fragmentary accompaniment goes far beyond the usual duties of an editor Caldini has mastered this task with knowledgeability and an unerring sense of style.

Two Pianos Four Hands. Includes set of parts for each player. Fantasy For Piano And Orchestra (Op. 32) was commissioned by the New York High School of Music and Art and first performed in the Carnegie Hall in 1942. Unfortunately like so many good works of the era it has since fallen out of favour and hasn’t been performed since the 1960s. It has been arranged here for two Pianos but retains its tuneful modern appeal. Paul Creston (1906-1985) was an American composer of Italian descent. He taught himself composition and music theory while working full-time to support his family meaning his style was independent of any outside influence. His work is noted for its complex and shifting rhythms while retaining a distinctly modern American tonal sound.

Later Elementary Level/Willis Music Spectacular Solos-Sunrise at San Miguel is a crowd-pleaser. Its Spanish-sounding sequences and rolling arpeggios will instantly intrigue any student. Highly recommended! In A minor some pedaling suggested. (The piece is a reference to San Miguel de Allende a beautiful Mexican city rich in art and culture.) Sunrise at San Miguel is a crowd-pleaser. Its Spanish-sounding sequences and rolling arpeggios will instantly intrigue any student. Highly recommended! In A minor some pedaling suggested. (The piece is a reference to San Miguel de Allende a beautiful Mexican city rich in art and culture.)

American Folk Song-SSAA. Goetze M.

This fast swing chart from Rob Vuono features melodic and harmonic writing at its best. Even at this grade level Rob has provided suggested voicings for the rhythm section. Tenor sax has an optional written solo before a sax soli. An a cappella section is ideal to work on the timing of the horns without rhythm before a vamp kicks in building to the end. Great writing! This fast swing chart from Rob Vuono features melodic and harmonic writing at its best. Even at this grade level Rob has provided suggested voicings for the rhythm section. Tenor sax has an optional written solo before a sax soli. An a cappella section is ideal to work on the timing of the horns without rhythm before a vamp kicks in building to the end. Great writing!

Many writers and composers past and present have used the tragic story of Egmont for their own personal work; Beethoven�s �Egmont Overture� is probably the most famous example of this.When the music association �Lamoraalvan Egmont� commissioned me to compose a piece which focuses on this character I was extremely interested in exploring the depth and inspirational power of this timeless story and to express it in a musical form.Four elements or episodes ofthe story constitute the dramatic cornerstones of the composition. Egmont�s wedding (part 1) Egmont�s precarious relationship with Philip II (part 2) his beheading in Brussels (part 3) and the rising of the Low Countries against theSpanish suppressors which was the result of his execution (part 4).The piece opens with an emotional melody that depicts the person of Egmont and can be heard in various variations throughout the work. This is followed by a cheerful and virtuosoRenaissance dance which recalls the atmosphere of a mid-16th century wedding party. It is not so much the celebration of the marriage between Count Lamoral of Egmont and Sabina of Bavaria which is depicted but rather the mood of the party itself andthe music that was played. Towards the end of this part the music reveals more Spanish influences; indeed the Low Countries were occupied by Spain and Egmont was a faithful follower of the Spanish king for whom he had been victorious at severalbattlefields.In part 2 the characters of Philip II the king of Spain and Egmont are introduced. A cunning and dark theme underpinned by a sweeping accompaniment on Spanish guitar (ad lib) and castanets symbolises the power-mad and tyrannicalfigure of Philip who seemed to have put a spell on Egmont (and others) forcing him to help the king in his reign of terror. In contrast Egmont�s theme answers with pure simplicity and quiet melancholy. Although he was known as a magnificentwarrior it is his vulnerability as a human being and the inner duality (he is torn between his king and his people) which are suggested here by the intimate sounds of the horn solo and the guitar arpeggios.The two themes come together and then gotheir own way - just like the two characters. Despite his adoration of Philip Egmont eventually finds it difficult to agree with the king�s policy (inquisition) and although he continues to serve his king faithfully tension begins to buildup. This eventually ends in a grand tutti whereby the themes of both characters can be heard competing in a wild Spanish dance.Egmont�s naivety and blind faith in Philip ultimately costs him his life: despite warnings from his good friendWilliam of Orange he is taken prisoner together with the Count of Hoorn in a cowardly fashion. He was sentenced and executed at the Grand Place in Brussels. The music depicts Egmont walking on the execution scaffolding: Egmont as a martyr betrayedby his friend Philip wal

Scène lyrique- Cléopâtre - Scène lyrique for Soprano solo and orchestra The cantata Cléopâtre belongs to a group of six surviving compositions written by Hector Berlioz between 1826 and 1830 for the prestigious Prix de Rome competition. This was administered by the music section of the Académie des Beaux-arts one of the four Académies that constituted the Institut de France during the Bourbon restoration. The text of the cantata Cléopâtre written for the competition by Pierre-Ange Vieillard particularly fired Berlioz’s imagination. His manuscript makes it clear that he viewed the work as a continuous monologue rather than as a traditional cantata with discretesections of recitative and air. Urtext of the New Berlioz Edition Performance material (BA5787-72) available for hire

The opening Adagio is excellent for working on a full-bodied sound while developing a moderate to weighty bow arm. The Allegro section can be performed either as a full tutti work or in a concerto grosso fashion giving you the flexibility of featuring your outstanding individual players while still programming the work with a younger ensemble. Outstanding! The opening Adagio is excellent for working on a full-bodied sound while developing a moderate to weighty bow arm. The Allegro section can be performed either as a full tutti work or in a concerto grosso fashion giving you the flexibility of featuring your outstanding individual players while still programming the work with a younger ensemble. Outstanding!

Part of the Wtritten For You Series Timothy Brown's Sky Sonatina is a sparkling and lyrical piece which promotes musical expression. This late elementary solo contains three short movements: the first portraying a happy spirit using a combination of legato and staccato articulations the second in a lyrical legato style and the third creating a bright and peppy mood. This piece provides a perfect introduction to the sonatina form for the late elementary level student.Part of the Wtritten For You Series Timothy Brown's Sky Sonatina is a sparkling and lyrical piece which promotes musical expression. This late elementary solo contains three short movements: the first portraying a happy spirit using a combination of legato and staccato articulations; the second in a lyrical legato style; and the third creating a bright and peppy mood. This piece provides a perfect introduction to the sonatina form for the late elementary level student.