Suite for Orchestra-In 1918 Gabriel Faure then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell'arte. The four-movement orchestral suite op. 112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Faure's last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The op. 112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earlier music. In 1918 Gabriel Fauré then 73 years old received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell’arte. The four-movement orchestral suite Op.112 consisting of Ouverture Menuet Gavotte and Pastorale combines previously unpublished parts of this stage music. The Pastorale of 1919 was Fauré’s last composition for orchestra the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The Op.112 orchestral suite demonstrates how the composer now older and more experienced reworked and improved his earliermusic. This scholarly-critical edition of the four-movement Masques et Bergamasques Op.112 is based on Gabriel Fauré The Complete Works Volume IV/2. First Urtext edition Based on Gabriel Fauré The Complete Works Score and orchestral parts in a large format (25.5 x 32.5 cm) available for sale

Away to the Southern land of ice and snow! This one is even easier to put together for the concert than it looks. The repeated nature of each section’s easy part of the theme means your Beginning Band can put this together with very few rehearsals. Nice dynamic contrasts easy articulations and the contrast between staccato and full-value notes make sure that your band can sound mature even though they have been playing but a short time. Quality music for the Beginning Band!

Grieg's Thirty-eight Pianoforte Pieces are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars. Includes informative introductions and performance notes. Grieg's Thirty-eight Pianoforte Pieces are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars. Includes informative introductions and performance notes.

Cycle Apres Pentecote-Dom.9 Post Pentecosten-Orgue- 1.Introït; 2.Offertoire; 3.Elévation; 4.Communion; 5.Supplications et Fugue modale

This Piano accompaniment book ideally compliments the Suzuki Bass School Volume 3 Bass Part book catalogue number 0874873762. The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability and that man is the son of his environment. According to Dr. Suzuki a world-renowned violinist and teacher the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach.

SATB and organ Edited by Jeremy Dibble

This is a collection of fine pieces in a variety of twentieth century classical and jazzy styles for Trumpet and Piano accompaniment. Each piece has been especially composed to be appropriate to the grade of the instrumentalist.

Jean Sibelius' Pensees Lyriques Op. 40 for Piano.

The music of Temples evolved out of different sources of inspiration. The most impor-tant of them were four temples belonging to Angkor a group of temple ruins in Cambo-dia. These temples represent several centuries of Khmer history one of themost im-portant ancient cultures of South East Asia and are characterised by both Buddhist and Hindu influences. Furthermore four biblical text fragments from the Book of Eccle-siastes chapter 3 became more and more important during thecomposition process. Hence each of the four episodes of the work is related to a biblical text and an Angkor temple. Besides this architectural and spiritual imagery a purely musical structure underlies the whole piece namely a sequence ofintervals which has an architectural analogy in the height proportions of the main towers of Angkor Wat. My aim was to combine an ab-stract fabric of musical relationships with the sensual and emotional impact these tem-ples and their history made onme while visiting them.PHNOM BAKHENG… there is a time to be born and a time to die...The music at the beginning is inspired by the old temple Phnom Bakheng“ erected in the 9th century A.D. also referred to as first Angkor. It is conceived as atemple-mountain corresponding to the mythical mountain Meru home of the Gods according to Hindu belief. The music describes the awakening of life the variety of living beings the birth of human civilisation. Low seemingly undefined chords formthe soil out of which long melodic lines begin to emerge. After a gradual increase in speed a transi-tion leads to a lively episode characterised by bright colours and flourish-like gestures. Later on the music becomes overshadowed by darkercolours as if the sun was dis-appearing.BAYON... a time for war and a time for peace...Mysterious chords build up the scene for the entry of the trumpets and trombones placed off-stage near the audience and playing menacing signals withincreasing inten-sity. This dramatic episode depicts the war a consequence of the diversity between different people and cultures. The temple Bayon with its rugged skyline an architec-tural masterpiece dating from Angkors flowering period contains many war descrip-tions on sandstone reliefs leaving no doubts that the Khmer civilisation like many oth-ers was built upon a great deal of warfare.PREAH KHAN... a time to mourn and a time to dance...A sequence of huge chords marks theentry into the temple Preah Khan the Sacred Sword. This temple mysterious and partly overgrown by virgin forest was erected as a sanctuary in the 12th century A.D. on a battlefield. After the dramatic conflict of the second episode a dirgefollows some kind of procession. This ritual has a mournful nature at first but becomes more and more hopeful after a sudden shift of tonality and a calm solemn statement of the tenor horns. Later on reminiscences of the first epi-sode appear andlead to an increasingly joyful music.ANG

Schumann Godard Joachim Onslow & Lalliet- The Nineteenth Century Collection includes a selection of 19th century works for the Oboe and Piano compiled by James Brown. This first volume contains five varied works by the composers Benjamin Godard Joseph Joachim Theophile Lalliet George Onslow and Robert Schumann. The pieces featured in the Nineteenth Century Collection: Volume 1 are included in the grade 5 6 and 8 ABRSM Woodwind Syllabus for Oboe 2014-2017.

This book contains Easy Piano arrangements of six standout songs from the soaring score of Glen Hansard and Markéta Irglová's hit Broadway musical Once . These arrangements are notably simple to play compared to those in the piano/vocal selections folio (published separately) yet they retain a beautifully full sound whether played as piano solos or for singing along.

Part only for Clarinet in B Flat for Op.83 No.2.

Piano scores for mixed choir solo voice and piano. Cantata (Feast of the Reformation)

Beethoven's Piano Sonata in E flat is published as part of ABRSM's 'Signature' Series a series of authoritative performing editions of standard keyboard works prepared from original sources by leading scholars. Includes informative introductions and performance notes. Beethoven's Piano Sonata No. 26 in E Flat ‘Les Adieux’ was written around the spring of 1809 when the French army attacked Vienna and Beethoven's friend patron and pupil Archduke Rudolph was forced to flee the city for many months. Beethoven wrote the words ‘On the departure of His Majesty the revered Archduke Rudolph’ in French at the head of the score of this most recent project Op. 81a. The first published edition of the Sonata from 1811 also has titles at the head of each of the sonata’s three movements: ‘Les Adieux’ (The Farewell) ‘L’Absence’ (The Absence) and ‘Le Retour’ (The Return) but it is not known as to whether these titles were inserted at Beethoven’sdirections or if they were added by the Publisher. Whatever the case may be there can be no doubt that Les Adieux is genuine evidence of one friend's care for another and it is no surprise that the piece is better known for its titles than for its magnificent music.

High Voice Piano. Brahms J. High Voice Piano. Brahms J.

Johann Sebastian Bach's Cantata BWV 71 'God the Lord my King is' for SATB.

SSA Adapted by E H Fellowes from the original five-part setting

Here is an opportunity to expose your band to the delightful graceful music of Edvard Grieg. This elegant arrangement of his famous piano tune offers a wide array of learning possibilities with regard to phrasing dynamics and the development of lyrical style. A wonderful piece for introducing your students to the joys of classical music.

from Three Songs of Love- Originally part of David Bednall’s Three Songs of Love the short section which sets W B Yeats’ poem The Cloths of Heaven (‘Had I the heavens’ embroidered cloths’) is here presented as a separate octavo publication. The warmth and passion of the text is portrayed in the highly expressive music which is tied very closely to the words with lavish harmonies presented in homophony with frequent divisi. This song like the complete Three Songs of Love will present a mild challenge to intermediate choirs but it is sure to be pleasing to both singers and audiences and an excellent addition to the contemporary repertoire.

Oratorio in three parts- Israel in Egypt HWV 54 Oratorio in three parts The versions of the 1739 and 1756-7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses' Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience's dissatisfaction with the work's unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria 'Hope hope a pure and lasting treasure' from the second version of Esther (for both 1756 and 1757) and the aria 'Toss'd from thought to thought' from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere