This is a choral arrangement of this popular song for SATB Choir with Piano Accompaniment and optional Guitar Bass and Drums. The lyrics and revised music to this song are by George David Weiss Hugo Peretti and Luigi Creatore. This version has been skillfully arranged by Jeff Funk. The optional drum part is also notated separately at the end of this score.

Clarinet and Piano-Part of the ANGLO MUSIC PLAY-ALONG Series Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suitthe individual instrument this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles from Handel to Tchaikovsky and from Clementi to Brahms. The book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD. Part of the Anglo Music Play-Along Series Philip Sparke's 15 Intermediate Classical Solos is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparke's 15 Easy Classical Solos. Specifically tailored to suit the individual instrument this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles from Handel to Tchaikovsky and from Clementi to Brahms. The book will provide invaluable additional material tocomplement any teaching method and includes both piano accompaniment and a demo/play-along CD.

The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696 the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding.

Op. 48- The “Messe de Requiem” is probably the internationally best-known and most frequently performed work by Gabriel Fauré . The composer’s first version was limited to just five movements and small-scale forces with low Strings Harp and Organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition. Despite its comparatively long period of gestation the Requiem forms a stylistic unity. Unlike other requiem settings the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with graceful melodicwriting for both soloists and Choir give the work a gentle and optimistic character. The Vocal score is based on the volume of the “ Complete Works of Gabriel Fauré ” (BA 9461) published in 2010. It is important to note that this vocal score is also compatible with the first small-scale version as well as the second chamber orchestra version. High-quality Urtext edition based on the “ Complete works of Gabriel Fauré ” First systematic evaluation of all sources Based on the large orchestral version of 1900 Informative Foreword (Ger/Eng) Vocal score suitable for all versions of the Requiem

KV 339- We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts two Violins two Clarinets Timpani Basses (Violoncello Double Bass and Bassoon) three Trombones and Organ. They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomousunit; the Doxology at the end is derived from the themes of the various Psalms. Urtext of the New Mozart Edition Performance material (BA4894) vocal score (BA4894-90) available for sale

Bagatelle means something like triviality or small matter. Despite the constantly varying times this composition - based on a single theme - sounds particularly light. The theme is introduced in its natural form first followed by some variations that lead to an uncomplicated canon. This charming interlude is fitting for every concert programme.

Homage to Weill-Study Score - Hawkes Pocket Score 902. Holloway R

Thorvald Hansen (1847-1915) was born in Copenhagen Denmark.

A Bicentennial Tribute to Adolphe Sax- Variations – Paris 1846 was composed specifically for the 25th anniversary of ‘Brass-Aux-Saxes’ in 2014 coincidentally the 150th anniversary of Adolphe Sax the inventor of the saxophone. As a result Philip Sparke created this work to pay homage to Adolphe Sax. The work is a series of variations based on one original theme and gives the ‘fanfare orchestra’ a unique and rare setting you would usually only find in Belgium the Netherlands and parts of Japan. Consequently this shows all of the different aspects of the band through both colour and technique.

Concert Overture- The Hebrides Op.26 Concert Overture The Hebrides the third in Bärenreiter's series of critical editions of Mendelssohn's great overtures is one of Mendelssohn Bartholdy's most performed compositions. Previously this work was only available in one composite version: the Julius Rietz edition from the 1860s. The new Bärenreiter edition consist of two versions each containing additional material from further sources. Version one the Rome version exists itself in two versions and has never beenpublished in a performing edition. Version two the London version also exists in two versions one of which was published by Mendelssohn in 1835. This pioneering edition documents the development of the composition and the various changes made by Mendelssohn . The new edition offers orchestras for the first time the possibility to perform this famous work based on all known sources. Score and large format orchestral parts with both versions back-to-back First ever Critical Edition Edited by Christopher Hogwood

The legends surrounding Saint Catherine of Alexandria also known as the Great Martyr Saint Catherine were the source of inspiration for this work. It depicts events surrounding her life in five musical episodes. The first episode presents the Emperor’s procession and theme. All is well until a heathen sacrificial ritual is heard in the second movement. After the sacrifice Catherine and her lyrical reflective theme make an appearance. A dispute breaks out between Catherine and the Emperor which can be heard in the heated exchange between their respective themes. Catherine is sentenced to die by the breaking wheel. The voices of angels can be heard in the finale asCatherine ascends to heaven.

selections from Harry Potter and the Prisoner of Azkaban-This title contains the two new themes composed by John Williams for the third film in the popular saga. The themes are arranged for Trombone soloist with a full Piano accompaniment suitable for an intermediate pianist or teacher. A fully orchestrated accompaniment is also included with the enclosed CD allowing rehearsal or performance with the full power of Williams' arrangements.

The edition is part of the Trinity syllabus 2007 (grade 7). Antonio Capuzzi's Double Bass Concerto In F as edited by Francis Baines. Available here is the solo part and piano score.

from Billy the Kid-For Violin and Piano.

Drei Romantische Stü cke Drei Romantische Stucke

10 Songs-Ten songs from Bernstein's famous stage works now available for each voice type! Each voice type has a unique song list. The editions include access to online piano accompaniments for streaming or download. These anthologies contain ten Bernstein songs each and are available for four different registers. Each edition is characterized by its own selection of titles for each register. Among these titles are catchy tunes and classics that we know and love by the American composer who died 25 years ago songs from West Side Story Wonderful Town Peter Pan and Mass.All editions are provided with an online access to piano accompaniments for download or streaming.

Features of the Barenreiter Urtext edition of Beethoven 's Mass In C Major : Score with realisation of the Organ part Bilingual Foreword (Eng/Ger) and Critical Commentary (Eng) Straight-forward Piano reduction Full score and performance material (BA9039) and Vocal score (BA9039-90) available for sale Amongst Beethoven ’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music. Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages. This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.

Brahms’s Clarinet Trio composed in 1891 was inspired by the exceptional musicality of clarinettist Richard Mühlfeld. As he did for his horn trio Brahms prepared a viola part as a possible alternative to the clarinet. Both scorings were rehearsed (the viola part being played by Joseph Joachim) prior to the premiere and publication of the work. Bärenreiter’s scholarly-critical edition prepared by Christopher Hogwood offers a foreword on the trio’s compositional process with comments on performance practice as well as a comprehensive critical commentary and facsimile excerpts of the manuscript. Viola part included as an alternative to the clarinetpart With a detailed foreword (Eng/Ger) on the work’s genesis and performance Practice

Between 1996 and 2000 Bärenreiter published scholarly-critical editions of Beethoven 's Nine Symphonies edited by the first class musicologist Jonathan Del Mar. The editorial process was a huge undertaking because of the complex source situation regarding Beethoven 's Symphonies culminating in the Choral Symphony (No.9) which came down to the publisher in nearly 20 different sources. So it was not surprising that Bärenreiter's new Urtext edition caused a considerable stir in the music world. Since publication Del Mar's edition enjoys the unabashed praise of conductors performers and critics alike and has become the most widely used publication ofthe Beethoven Symphonies which can be heard not only every day in concert halls but also on CD recordings by John Eliot Gardiner David Zinman Jos van Immerseel and Claudio Abbado. Full scores study scores and complete performance material to Beethoven ’s Nine Symphonies are available for sale.

Full score performance material and Vocal score available for sale. Suitable for smaller-scale performances. Straightforward Piano reduction in the Vocal score. Antonio Caldara (1670–1736) is primarily known for his numerous oratorios and operas which brought him great popularity during his lifetime. Besides these large-scale compositions Caldara also wrote smaller Vocal works of which his “ Stabat Mater ” is the best known. This publication is based on Eusebius Mandyczewski’s edition of the “ Stabat Mater ” which has until now been the definitive edition. The notation and key signatures havebeen adapted to today’s standards. The effective instrumentation with two Trombones and Strings supports the solemn character of the work and enables smaller-scale performances.