Piano Reduction- Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for violin and orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773. The piano reduction of Mozart’s D major violin concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages. The solo part gives players the critical Urtext of the New Mozart Edition. A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas 'Eingänge' and fermata embellishments. This collection offers players a spectrum of styles available in no other publication. Urtext of the New Mozart Edition Full score and parts (BA4866) violin & piano reduction (BA4866-90) and study score format 22.5 x 16.5cm (TP273) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the Symphonie concertante his special attention. On April 5 1778 he wrote to his father: Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon. Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned sinfonie concertante in his program. Mozart had no reason to compose any more for this genre in Paris. After Mozart's return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time. - Urtext of the New Mozart Edition - Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

Cette pièce est un voyage musical à travers l’Oregon État du nord-ouest des États-Unis. À bord d’un train de la Northern Pacific Railroad l’auditeur est invité à découvrir les paysages somptueux de l’Oregon. Au fil du trajet sur la route empruntée par les chariots des pionniers on rencontre des Indiens des cowboys et des chercheurs d’or. Et la musique prend la forme d’une aventure digne d’un western.

King Arthur is a five-movement suite based on the famous Arthur ledged. It forms part of the ‘Easy Band 4’ series in which all pieces have ten-part instrumentation (+ percussion) so can be performed by bands who do not have a full compliment of players. Bring a little Arthurian magic to your concert with this easy and exciting suite.

for 1 or 2 soprano recorders and guitar

Pastorale Héroïque In One Act- The heroic pastoral Daphnis et Eglé was performed only once on 29 October 1753 for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today. This edition is based on Rameau's autograph manuscript a copy of the separate parts and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version—which is actually more complete in its musical form in particular with its overture and two ariettas—but also reconstructs theoriginal state of the final divertissement (presented in the appendix) before it was revised. Urtext edition from the Rameau edition 'Opera omnia'. Full score (BA8862) and vocal score (BA8862-90) available for sale. Performance material (BA8862-72) available for hire.