from Trouble in Tahiti- From Leonard Bernstein's one-act opera Trouble in Tahiti. Arranged for unison treble choir and piano. English.

A complex and challenging work commissioned by the International Horn Society. A complex and challenging work commissioned by the International Horn Society.

Le mont Wakakusa (littéralement ‘herbe nouvelle’) situé à l’est de Nara tient son nom de cette herbe nouvelle qui le recouvre. À son pied se dressent plusieurs temples et sanctuaires célèbres dont le Temple Todaiji et le sanctuaire de Kasuga. Le quinze janvier de chaque année le mont Wakakusa est le théâtre d’un incroyable spectacle nocturne. La tradition veut que pour célébrer l’événement du Yamayaki (la Fête du feu de l’herbe) le mont soit embrasé pour laisser les flammes illuminer le ciel nocturne au-dessus de Nara.

Song for Nico leads one to suspect that this song was written for someone very special... This beautiful romantic pearl is a quiet moment in every concert programme. It contains beautiful melodies in all instrument groups always provided with cue-notes for any incomplete orchestras.

SATB. Lowry R

Written in Paris in 1930.

Selected pieces and traditional songs in five volumes-The five-volume ABRSM Songbook series offers singers and teachers an unrivalled choice of repertoire that will provide the bedrock for many years of vocal study. The series features over 100 art songs from Grades 1-5 of ABRSM's Singing syllabus and CDs of piano accompaniments to all the art songs as well as recordings of the text to every song. The five-volume ABRSM Songbook series offers singers and their teachers an unrivalled choice of core repertoire that will provide the bedrock for many years of rewarding vocal study. This series features: Over 1000 art songs drawn from Grades 1-5 of the Associated Board's Singing syllabus. A massive range of repertoire from the Medieval to modern musicals - many in practical new editions. Irresistible new arrangements by Carol Barratt of eighteen classic songs. A rich collection of sixty authentic unaccompanied traditional songs sourced from around the world. English singingtranslations for every non-English-language song - many newly-commissioned. Useful notes on the songs containing background information and performance suggestions. CDs of Piano accompaniment to all the art songs performed by Simon Lepper as well as recordings of the text to every song performed by native speakers.

L'attelage suait soufflait était rendu (La mouche du cloche)

French flautist Marcel Moyse (1889-1984) studied at the Paris Conservatoire before becoming a renowned performer on the instrument. He was also responsible for training a brilliant generation of Flute players and his experiences and expertise combined created the well-informed compilation 20 Studies after Kreutzer for Flute. With notes in French English German and Japanese Moyse 's studies are accessible and versatile. Focus in this Moyse study book is given to fingering phrasing tempo breath control articulation intervals range and ornamentation among other musical aspects. 20 Studies for Flute based on Violin studies by Rodolphe Kreutzer (1766-1831) is essential to the technical progress of advanced flautists.

With Your Own Concert Band on CD-This book contains the lead wind and brass parts for 16 popular pieces from the concert band repertoire. The play-along CD contains concertband performances with the clarinet part missing from the recording.Includes: Earth Song (Michael Jackson) The Second Waltz(Shostakovich) Gabriel’s Oboe (Ennio Morricone). Abba Gold CanYou Feel the Love Tonight (Elton John) and many more.

Flute Oboe and Bassoon parts- First Urtext edition based on Georg Philipp Telemann Musical Works. An attractive addition to the repertoire with a view to the Telemann Year 2017. Bilingual Foreword (Ger/Eng). Uncluttered idiomatic Piano reduction. Full score and parts (BA5897) and vocal score (BA5897-90) available for sale. Chorale settings form a central part of Telemann ’s œuvre. His 1754 setting of the church hymn Christus Der Ist Mein Leben based on Melchoir Vulpius’ melody from the Hamburg Hymnal is especially well-suited to display his mastery in depicting the words of the chorale. The so-called “Ausfüllungsbass” (a vocal bass added tothe principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg’s churches. This is the first Urtext edition of this highly successful chorale setting which is based on Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part.

op. 7 Hol. 81B / Six Songs- Hector Berlioz: Les nuits d'Ete for Solo Voice & Orchestra Op.7 Hol.81B . Version for medium voice. BA 5786-90: Vocal score voice & piano Berlioz composed these songs in 1840-41 between the composition of Roméo et Juliette and La damnation de Faust. The poems were taken from a collection entitled La comédie de la mort by Théophlie Gautier published in 1838. The songs were for mezzo-soprano or tenor with piano accompaniment and were published as a cycle under the title Les nuits d'été in 1841. The second and fourth songs Le spectre de la rose and Absence were performed a few times at that period and Absence was sung twice in February 1843 by Marie Recio on Berlioz's first tour of Germany. For Marie who later became his second wife Berlioz at once orchestrated the song for mezzo-soprano and small orchestra. A dozen years later Berlioz orchestrated the remaining five songs of the cycle which appeared in its orchestral form in 1856. Two of these songs Le spectre de la rose and Sur les lagunes were now transposed to a lower key so that the cycle was no longer within the compass of a single voice. 1: Villanelle F major 2: Le spectre de la rose B major 3: Sur les lagunes F minor 4: Absence E-flat major 5: Au cimetière B-flat major 6: L'îsle inconnue D major Urtext of the New Berlioz Edition Full scores and parts available for hire (BA5786-72) English & German translations of the song texts printed sepatarely

The mystique surrounding life and death formed the starting point of this composition. I wanted to write a work without a story mixed up in a kind of musical quest for a new world of sound original rhythm sequences melodies filled with suspenseand distinct orchestral tones.The indirect cause was the birth of my first child which took place during this time followed by the death of a close family member. At such a moment you experience just how close life and death are to each other anddespite one being the antithesis of the other they are incredibly similar. Both radical events are passages into new worlds and have great emotional impact. Moreover the work was commissioned by “New Life” an orchestra that lost one of itsmusician in a plane crash which also led me to believe that this approach would be appropriate.I would prefer not to comment on which passages in the composition concern life (birth) and which refer to death. It seems to me that it is moreinteresting to question traditional conceptions and leave it open for the listener. If you think that a passage is about birth and this idea then shifts it is this that raises fascinating questions on both a musical and metaphysical level.Music isin an indirect but incredibly persuasive way in which to express the endless striving and seeking of mankind. Music can even touch eternity as it were and give us the feeling that we can transcend death. This endless search (and also longing) canbe heard throughout the work; as much in the sound fields and accent shifts in the first part as in the enormous tension curves and compelling themes of the second part. The semi-tone functions in this way as a guide or something to hold on to running through the whole work and upon which much of the musical material is based. Traces of profound love resound with quiet simplicity in the slow section’s melodious solos after which the work contemplates life and death one last time musesupon joy and sadness on the possibilities and limitations of people and on the why of all things.I would like to dedicate this work to my dearest daughter Paulientje to Meterke and to Johan de Jong of the “New Life” orchestra. May it fare themwell here or in another dimension…

Moonplay is influenced by the tradition of inventions - studies using limited musical materials. Yi and yu - change and constancy - are the foundations of almost every musical form. And in abstract musical works play and wonder are the lifeblood of invention. Influences on Moonplay include J.S. Bach (invention) Béla Bartók (form) Astor Piazzolla (tango-esque rhythms and style) and Federico Garcia Lorca (text). SS/A . Kesselmann L

72 Solo Cantatas for Voice Melodic Instrument and Basso continuo. Lent & Easter - Medium Voice. When Telemann issued his first annual cycle of printed cantatas Der Harmonische Gottesdienst (Hamburg 1725-6) he was already one of the leading cantata composers of his time. Thanks to their brevity and their simple scoring the 72 solo cantatas have remained very popular to the present day. These editions (BA 5891 through to BA 5896) divide the annual cycle into cantatas for high voice and cantatas for medium voice. Each series spreads the works over three volumes accompanied by separate parts for solo instrument and continuo.The cantatas follow the order of the liturgical year beginning with the Christmas season and continuing with Easter and Trinity. Being practically minded Telemann arranged the ambitus of the vocal parts so that the cantatas for medium voice are ‘also suitable for an ordinary alto or bass’. Similarly the solo instruments are suitable for Violin Oboe Recorder or Flute. - Interesting solo cantatas for use in church services. - Urtext from the Telemann Edition. - Separate parts for instrument and continuo.

A collection of 3 Impromptus for Piano Solo from celebrated composer Roberto Gerhard.

Billy The Kid Suite-Four Dance Episodes From Rodeo- Aaron Copland's Ballet Music is now published in The Masterworks Library . Available for the first time in full score format at pocket score prices with introductory notes illustrations and photographs. Ideal for students conductors performers libraries CD collectors and general music enthusiasts. Contains Billy the Kid Suite. Four Dance Episodes from Rodeo and Appalachian Spring Suite.

Like ‘Hijo de la Luna’ ‘Enamorada’ is another great Latino song regardless of the fact that it was composed by Belgian songwriters. Stef Minnebo who is an expert in this kind of music thanks to his work as a bass and guitar player made an original but faithful adaptation of this Belle Perez hit. It’s time to put your lambada outfit on and dream of the South.

Man in Motion is the title number from the film St. Elmo’s Fire from 1985. The song was a huge hit and was even nominated for a Grammy. In the meantime it’s become a world-wide classic which in this entertaining concert band arrangement will enliven any concert programme.

The term �Pastorale� originally meant a (musical) poem extolling the virtues of rural life. Beethoven�s 6th symphony is a fine example of this. In his Hymnus Pastorale Bert Appermont has dressed this concept in a modern guise with a composition featuring a magnificent and broad chorale which can be played by any ensemble. It is ideal as an interlude in your concert or as a warm-up piece.