Eulenburg's celebrated and highly authoritative miniature score is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Concerto No. 4 For Marimba And Orchestra - 'Zum Gedächtnis des Vergänglichen' was composed by Anders Koppel for Wiener Mozartjahr in 2006. Concerto No. 4 For Marimba And Orchestra - 'Zum Gedächtnis des Vergänglichen' was composed by Anders Koppel for Wiener Mozartjahr in 2006.

15 Balladen für Gitarre solo-Giuseppe Di Girolamo who was born in Palermo (Italy) began as a young man to play the guitar in pop and rock bands for which he also composed the music. Later his interest began to turn more and more towards the classical guitar. At present he teaches guitar at the Schlossgymnasium in Künzelsau the Music School in Krautheim and the Freie Schule Anne-Sophie in Künzelsau Germany.

A wonderful album especially for Organ Manuals which has been compiled and edited by Darwin Wolford. Includes works by Marcello Pachelbel Brahms and Franck.

Quartet was composed by Jørgen Jersild in 1934 for Violin Viola Clarinet and Bassoon. Jørgen Jersild was a Danish music educator and composer. Jersild worked as a professor of ear training at The Royal Danish Academy Of Music in Copenhagen. Quartet was composed by Jorgen Jersild in 1934 for Violin Viola Clarinet and Bassoon. Jorgen Jersild was a Danish music educator and composer. Jersild worked as a professor of ear training at The Royal Danish Academy Of Music in Copenhagen.

Pour Choeur D'Hommes A Cappella-Scored for a cappella men’s choir (TTBB) Poulenc’s Quatre Petites Prieres de St Francois d’Assise were composed for and dedicated to the monastery choir at Champfleury (and in particular a certain monk there named Frere Jerome who happened to be the composer’s great-nephew). With the use of archaic textures of plainchant and Poulenc’s own harmonic colourings these four pieces create a unique reverence and solemnity.

Hans Abrahamsen 's Flowersongs (2012 version) for Flute Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German for example 'Winternacht' (1976/78) 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German it must be Blumenlieder and to me it now sounds suddenly very different more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection as I incorrectly wrote the title as one word but perhaps it is also a kind of naivety which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute Oboe and Clarinet.' - Hans Abrahamsen Hans Abrahamsen 's Flowersongs (2012 version) for Flute Oboe and Clarinet. 'I wrote Flowersongs for three Flutes in the spring of 1973 when I was 20 years old. Looking back now 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time this is still a very important piece for me. In Flowersongs along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra I feel that I was on my way to finding my own voice in the middle of the music of the great Central Europeanmodernist tradition from the 50s and the reaction from the 60s of the new simplicity minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s and the work is trying to find the power inherent i

Sympathetic arrangements with optional practice backing tracks and performances on the accompanying CD. All highly playable. In the interests of playability the strict formality of Pachelbel's 'Canon' has been relaxed while allowing the spirit of the original to shine through. The key has been simplified from D major to C major and the seventeenth century rhythmic notation updated to improve readability. The optional Companion CD allows for small 12 bar sections (between each of the rehearsal letters) to be practised both 'slowly' with metronome click) and 'a tempo' before putting the whole piece together — ideally in the company of another human!

The Sally Gardens (Irish trad.) expertly arranged for Mixed Choir SATB by Vagn Norgaard. Text by W.B. Yeats.

1999-For mezzo clarinet harp percussion and cello. Text by William Heinesen Sunleif Rasmussen's Arktis (1999) for Mezzo-Soprano Clarinet Harp Percussion and Cello. Text by William Heinesen. Parts are available: WH31383A Manuscript copy.

Concerto For Viola And Orchestra by Anders Koppel . This work was commissioned by South Jutland Symphony Orchestra and was first performed February 10th 2011. Concerto For Viola And Orchestra by Anders Koppel . This work was commissioned by South Jutland Symphony Orchestra and was first performed February 10th 2011.

Nr. 4a Ah! spietato-Low Voice Piano (Italian German). Haendel Gf

Mit über 1.200 Titeln aus Orchester- und Chorliteratur Kammermusik und Musiktheater ist die Edition Eulenburg die größte Partiturreihe der Welt. Sie deckt einen große Teil der Musikgeschichte vom Barock bis zur klassischen Moderne ab und blickt auf eine lange Tradition zurück.

Grade 8+-It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists. Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across

Scenarier - 7 Shortcuts For Blæserkvintet (Scenarios - 7 Shortcuts For Wind Quintet) was composed by Svend Hvidtfelt Nielsen in 2002. Set of parts available: KP01268 Scenarier - 7 Shortcuts For Blaeserkvintet (Scenarios - 7 Shortcuts For Wind Quintet) was composed by Svend Hvidtfelt Nielsen in 2002. Set of parts available: KP01268

Tre Folkesange by the Danish composer Peter Bruun version for Voice and Ensemble. This piece incorporates text by Ursula Andkjær Olsen. Tre Folkesange by the Danish composer Peter Bruun version for Voice and Ensemble. This piece incorporates text by Ursula Andkjaer Olsen. Version for Voice and Piano: WH31513

Per Nørgård's Unfolding for Piano Solo. Composed for Katrine Gislinge 2012. Per Norgard's Unfolding for Piano Solo. Composed for Katrine Gislinge 2012. Manuscript copy.

The fourth book in the Listen To The World series contains an exciting selection of Piano pieces covering all grades written in response to Mark Tanner 's frequent trips abroad as a concert pianist and ABRSM examiner. ' Intriguing sounds emanate from all around us - the noises of the elements animals and people going about their everyday business. There are exotic evocations and some ancient symbolism in the mix too alongside a little humour here and there to lighten the mood. ' - Mark Tanner

Setting of text from St Lukes Gospel for SATB Choir with Piano or Organ accompaniment.

Three well written and entertaining movements for 2 trumpets and trombone ending with a Calypso from this acclaimed composer known for his global travels!