SKU: HL.49003076
ISBN 9790220114588. UPC: 841886033740. 9.0x12.0x0.1 inches.
Contents: Scarborough Fair * I know where I'm goin' * The Birch Tree * Alouette * Kalinka * La Jesusita * The Barnyards o' Delgaty * Oh, dem Golden Slippers * Amo, amas, I love a lass (The Frog and the Mouse) * The Spanish Guitar * High Road to Linton * Go tell it on the mountain * The Bagpipers' Carol * Bella Bimba * The Lorelei * Santa Lucia * Non piu andrai (Mozart) * Norwegischer Tanz, Op. 35, No. 2 (Grieg) * Two lovely black eyes (Coborn) * Rule Britannia (Arne) * Star of County Down * Hamilton House * Scipio (Handel) * Langsamer Marsch * Comin' thro' the Rye * Toreador's Song from Carmen (Bizet) * Theme from the Violin Concerto (Beethoven) * Plaisir d'amour (Martini) * Wanderlied (Wohlauf noch getrunken) * Jerusalem (Parry) * Linstead Market * Heidenroslein (Schubert) * Aloha Oe (Queen Liliuokalani) * The Trout (Schubert) * Mrs McGrath * My Grandfather's Clock (Work) * Theme from Land of Hope and Glory (Mozart) * The Golden Wheat * Take a pair of sparkling eyes (Sullivan) * Funiculi, funicula * Botany Bay * Garry Owen * Trumpet Air (Clarke) * The Soldier's Joy (Reel) * Sailor's Hornpipe * The Entertainer (Joplin) * The Irish Washerwoman * Turkey in the Straw.
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handelâ??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part â??Englishâ? oratorio form that he had developed in â??Estherâ? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from â??Il trionfo del Tempo e della Verità â?.
SKU: FH.VA6
ISBN 978-1-55440-568-8.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Concertos:Concerto in B flat Major - Hoffmeister, Franz Anton arr. Alison A. Copland- First MovementPremier Solo, op. 77, no. 1 - Dancla, CharlesConcerto in C Major - Schmitt, Joseph arr. Bernhard Pauler- First MovementSonatas:Sonata in E Minor, HWV 375 - Handel, George Frideric arr. Harold Birston- Second Movement- Third MovementSolo per alto viola (The Billiard Sonata) - Giardini, Felice arr. Christine Donkin- Second Movement- Third MovementSonata in B flat Major - Stamitz, Carl- First MovementConcert Repertoire:Couplets de folies - Marais, Marin arr. Paul DoktorHebrew Melody No. 1 - Joachim, JosephAir with Variations (The Harmonious Blacksmith) - Handel, George Frideric arr. Watson ForbesOrientale - Granados, Enrique arr. Christine Donkinelegie, op. 44 - Glazunov, AleksandrUnaccompanied Repertoire:Fantasia No. 1 in E flat Major, TWV 40:14 - Telemann, Georg Philipp- First Movement- Second MovementSuite No. 1 in G Major, BWV 1007 - Bach, Johann Sebastian- First Movement: Prelude- Second Movement: Gigue.
SKU: AP.36-52720469
ISBN 9781628763874. UPC: 746241220448. English.
A best seller for over ten years! Everything the working soloist needs to play a wedding prelude and service, without being technically taxing. All 22 selections from the original album have been rescored to include introductions for solo performance. Air on the G String (Bach); Arioso (Bach); Jesu, Joy of Man's Desiring (Bach); Sheep May Safely Graze (Bach); Wachet auf (Bach); Ave Maria (Bach/Gounod); Ave Maria (Schubert); Ode to Joy (Beethoven); Canon (Pachelbel); La Rejouissance (Handel); Queen of Sheba (Handel); Water Music Selections (Handel); "Largo" from Winter (Vivaldi); Bridal Chorus (Wagner); Wedding March (Mendelssohn); Alleluja (Mozart); Piano Concerto No. 21 (Mozart); Panis Angelicus (Franck); Prelude (Charpentier); Rondeau (Mouret); Trumpet Tune (Purcell); Trumpet Voluntary (Clarke).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: FP.FTJ06
ISBN 9780951479537.
Composing for the recorder can be intimidating for those with limited or no experience playing the instrument. John Turner's new book is the ideal primer, taking the would be recorder composer on a journey through the history of recorder composition, and onwards to explore player techniques and the musicality offered by this versatile instrument. Each section is extensively referenced to exisiting compositions, providing a fantastic platform for further research by the reader.About the Author:JOHN TURNER is one of the leading recorder players of today. Born in Stockport, he was Senior Scholar in Law at Fitzwilliam College Cambridge before pursuing a legal career, acting for many distinguished musicians and musical organisations alongside his many musical activities. These included numerous appearances and recordings with David Munrow's Early Music Consort of London, the Academy of Ancient Music, the English Chamber Orchestra, the Academy of St. Martin-in-the-Fields and the English Baroque Soloists. He now devotes his time to playing, writing, reviewing, publishing, composing and generally energising.He has played as recorder soloist with the Halle Orchestra, the Royal Liverpool Philharmonic Orchestra, the Manchester Camerata, the English Baroque Soloists, the English Chamber Orchestra, and many other leading orchestras and ensembles. Concertos and works with orchestra have been written for him by Gordon Crosse, Anthony Gilbert, Peter Hope, Kenneth Leighton, Elis Pehkonen, Alan Bullard, John Casken, and many other distinguished composers. His recordings include no less than five sets of the Brandenburg Concertos, as well as the F Major version of Brandenburg Concerto No. 4 with Menuhin and George Malcolm, but lately he has madenumerous acclaimed recordings of the recorder’s contemporary concerto and chamber music repertoire, including several concerto discs, all of which have received critical acclaim. In all, he has given the first performances of over 600 works for the recorder, with works by many non-British composers, including Leonard Bernstein, Ned Rorem, Peter Sculthorpe, Douglas Lilburn and Petr Eben.Many of the works he has premiered have now entered the instrument’s standard repertoire, and these and his own recorder compositions are regularly set for festivals and examinations. He edits series of recorder publications for both Forsyths and Peacock Press, and founded the periodical Manchester Sounds, in response to the perceived threat to music libraries in Great Britain. In addition he was responsible for the rediscovery of several works for his instrument, including the Rawsthorne Recorder Suite, Antony Hopkins' Pastiche Suite, Herbert Murrill’s Sarabande, the Handel F Major Trio Sonata and John Parry's Nightingale Rondo (the only substantial known British nineteenth century work for a fipple flute). He was awarded an Honorary Fellowship by the Royal Northern College of Music in 2002 for his services to British music, and is a Visiting Distinguished Scholar of Manchester University.
SKU: BR.OB-5386-19
ISBN 9790004334591. 10 x 12.5 inches.
Ton Koopman's new edition of all 16 organ concertos by Handel has drawn to a close. The quality of this edition has been highly praised from all quarters. Source-critical responsibility goes hand in hand with a high level of performance practice when Koopman provides interpretative tips for the ad libitum passages in the organ part without restricting the creativity of the interpreter who is interested in stylistic matters and prefers to work out his own solutions.The popular Concerto Op. 4 No. 6 in B flat major was originally a harp concerto (and is thus called Concerto per la Harpa in the autograph) and was performed in this version at its premiere in 1736, when it was inserted into Handel's oratorio Alexander's Feast in order to illustrate the harp playing of the Greek singer Timotheus. A harp edition is also in preparation.I want to make an edition that is not a Koopman interpretation, but contains only that which Handel really wrote. Nevertheless, there are occasional performance suggestions in small print which are elucidated in the Critical Commentary. (Ton Koopman in Concerto) Koopman offers a basically unmarked text, thus leaving the performance details up to the performer. Especially note-worthy is the clear printing, extensive preface and detailed Critical Notes. (Katholische Kirchenmusik)Whoever wishes to hear the entire Koopman edition on CD can look forward to the new recording by Christian Schmitt and the Stuttgarter Kammerorchester (Brilliant Classics). This is the first recording for which all 16 new Koopman editions were used as the basis for the performance.
SKU: HL.49045386
ISBN 9781847614193. UPC: 888680671457. 9.0x12.0x0.25 inches. English.
The 50 most popular classical pieces in easy arrangements. This new collection presents 50 popular classical pieces in easy arrangements for piano. Taking the concept of the 'playlist' from the world of digital music streaming this book presents a carefully chosen collection of the world's favorite classical pieces for today's student and amateur musicians. Featuring many of the most popular works from the classical repertoire, this offers hours of enjoyable music making. Contents: Adagietto, from Symphony No. 5 (Mahler) • Air, BWV 1068 (Bach) • Piano Concerto No. 23, Andante (Mozart) • The Blue Danube (J Strauss II) • Canon (Pachelbel) • Clair de Lune (Debussy) • Chanson de Matin (Elgar) • Chorus of the Hebrew Slaves (Verdi) • The Dance of the Little Swans (Tchaikovsky) • Dance of the Blessed Spirits (Gluck) • Danse Macabre (Saint-Saens) • The Pearl Fishers' Duet (Bizet) • Emperor Concerto, 2nd mvt. (Beethoven) • Flower Duet (Delibes) • Gavotte (Grieg) • Gymnopedie No. 1 (Satie) • Habanera (Bizet) • Halleluja Chorus (Handel) • Hornpipe, Water Music (Handel) • Impromptu, Op. 90, No. 3 (Schubert) • Intermezzo (Mascagni) • Jerusalem (Parry) • Jupiter (Holst) • Intermezzo (Sibelius) • Liebestraume No. 3 (Liszt) • Menuet (Ravel) • Menuetto, Symphony No. 104 (Haydn) • Meditation (Massenet) • Morning (Grieg) • Ode to Joy (Beethoven) • Nessun Dorma (Puccini) • Nimrod (Elgar) • Nocturne, Op. 9, No. 2 (Chopin) • Non piu andrai (Mozart) • O Mio Babbino Caro (Puccini) • Dance of the Sugar Plum Fairy (Tchaikovsky) • Prelude to the Afternoon of a Faun (Debussy) • Ride of the Valkyries (Wagner) • Spring, from the Four Seasons (Vivaldi) • Symphony No. 1, 4th mvt. (Brahms) • The Old Castle (Mussorgsky) • The Swan (Saint-Saens) • The Trout (Schubert) • Traumerei (Schumann) • Toreador Song (Bizet) • Violin Concerto, Andante (Mendelssohn) • Vltava (Smetana) • Waltz from Coppelia (Delibes) • When I Am Laid in Earth (Purcell) • Waltz in A-flat, Op. 39, No. 15 (Brahms).
SKU: FH.FLE01
ISBN 978-1-55440-300-4.
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.Slavonic Dances, op. 46, no. 1 Antonin Dvorak Symphony No. 100 in G Major (Military): II Franz Joseph Haydn Le carnaval des animaux: Aquarium Camille Saint-Saens HMS Pinafore: I'm Called Little Buttercup Arthur Sullivan La forza del destino: Overture Giuseppe Verdi Serse (Xerxes), HWV 40: Va godendo vezzoso e bello George Frideric Handel Symphony No. 100 in G Major (Military): III Franz Joseph Haydn Ma Vlast: II Bedrich Smetana HMS Pinafore: When I Was a Lad Arthur Sullivan Nutcracker Suite: Overture Pyotr Il'yich Tchaikovsky Symphony No. 6 (Pastoral): III Ludwig van Beethoven Symphony No. 9 in E Minor, op. 95 (New World): I Antonin Dvorak Faust: Soldier's Chorus Charles Gounod Peer Gynt Suite No. 1, op. 46: I Edvard Grieg Symphony No. 102 in B flat Major: I Franz Joseph Haydn Brandenburg Concerto No. 4, BWV 1049: III Johann Sebastian Bach Carmen: La garde montante Georges Bizet Petite suite: Ballet IV Claude Debussy Symphony No. 100 in G Major (Military): IV Franz Joseph Haydn Symphony No. 40 in G Minor, K 550: III Wolfgang Amadeus Mozart Symphony No. 5: IV Ludwig van Beethoven Carmen: Act 1, Prelude Georges Bizet Faust Ballet Music: Danse antique Charles Gounod Symphony No. 102 in B flat Major: IV Franz Joseph Haydn Scheherazade, op. 35: IV Nicolai Rimsky-Korsakov Symphony No. 6 (Pastoral): I, II Ludwig van Beethoven Symphonie fantastique: V Hector Berlioz Die Zauberfloete: Wie stark ist nicht dein Zauberton Wolfgang Amadeus Mozart Bolero Maurice Ravel Scheherazade, op. 35: I Nicolai Rimsky-Korsakov Brandenburg Concerto No. 4, BWV 1049: I Johann Sebastian Bach Symphonie fantastique: I Hector Berlioz Carmen: Entr'acte (Prelude) Georges Bizet Symphony No. 1 in C Minor: IV Johannes Brahms Die Zauberfloete: Overture Wolfgang Amadeus Mozart Symphony No. 8 in G Major: IV Antonin Dvorak Leonore Overture No. 3, op. 72a Ludwig van BeethovenSymphony No. 4 in E Minor: IV Johannes BrahmsLa mer: I, II, III Claude DebussySymphony No. 4 (Italian): IV Felix Mendelssohn Symphony No. 1 (Classical): II Sergei Prokofiev Symphony No. 3 in E flat Major (Eroica): IV Ludwig van Beethoven Prelude a l'apres-midi d'un faune Claude Debussy Sinfonie Mathis der Maler: I, II Paul Hindemith Incidental Music to A Midsummer Night's Dream, op. 61: Scherzo Felix Mendelssohn Petroushka (1947 revision): Part 1 Igor Stravinsky Symphony No. 4 in F Minor: III Pyotr Il'yich Tchaikovsky Capriccio espagnol, op. 34: IV Nicolai Rimsky-KorsakovSymphony No. 1 (Classical): IV Sergei Prokofiev Concerto for Orchestra: I, II, III, IV, V Bela Bartok Symphonic Metamorphosis after Themes by Carl Maria von Weber: II, III Paul Hindemith Das Lied von der Erde: VI Gustav Mahler Peter and the Wolf, op. 67 Sergei Prokofiev Le carnaval des animaux: 10. Voliere Camille Saint-Saens Daphnis et Chloe: Troisieme partie Maurice Ravel Guillaume Tell: Overture Gioachino Rossini Till Eulenspiegel's Merry Pranks Richard Strauss Firebird Suite (1919 version) Igor Stravinsky Symphony No. 9: IV Ludwig van Beethoven Concerto for Orchestra: III Bela Bartok Scheherezade, op. 35: IV Nicolai Rimsky-Korsakov Semiramide: Overture Gioachino Rossini Symphony No. 5, op. 47: I, II Dmitri Shostakovich.
About Overtones
Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.
SKU: BR.OB-5386-15
ISBN 9790004334577. 10 x 12.5 inches.
SKU: BR.PB-5386
ISBN 9790004210772. 9 x 12 inches.
SKU: BR.OB-5386-30
ISBN 9790004334614. 10 x 12.5 inches.
SKU: BR.OB-5386-16
ISBN 9790004334584. 10 x 12.5 inches.
SKU: BR.OB-5386-26
ISBN 9790004334607. 10 x 12.5 inches.
SKU: BT.AMP-449-010
English-German-French-Dutch.
The Legend of Spirit Island was commissioned by the Twin Ports Wind Orchestra, Duluth, Minnesota (Mark Whitlock, conductor), to honour the euphonium player, Dick Carlson. The piece takes its title from a local legend about Spirit Island, which lies in a gap of the St. Louis River called Spirit Lake. The legend tells the story of Chaska, the son of a Dakota Chief, and Wetona, the daughter of Ojibwe Chief Buckado. He was handsome and she was beautiful; it wasn’t long before they fell in love. This is a challenging euphonium solo in which the versatile soloist can explore very expressive melodic sequences, as well as energetic, technical sections.The Legend of Spirit Island werd geschreven in opdracht van de het Twin Ports Wind Orchestra uit Duluth, Minnesota (dirigent Mark Whitlock) als eerbetoon aan euphoniumspeler Dick Carlson. De titel van het werk is afkomstig van een lokale legende over Spirit Island, dat dicht bij Duluth in een verbreding van de St. Louis River Spirit Lake ¬ligt. Deze legende gaat over Chaska, de zoon van een Dakota-opperhoofd, en Wetona, de dochter van Ojibwe-opperhoofd Buckado. Hij was knap en zij was mooi; het duurde niet lang of de twee waren verliefd op elkaar. De uitdagende euphoniumsolo biedt de solist de mogelijkheid om expressieve melodieën te verkennen en zijn of haarspeelvaardigheid te demonstreren. The Legend of Spirit Island wurde vom Twin Ports Wind Orchestra aus Duluth, Minnesota (Dirigent: Mark Whitlock), in Auftrag gegeben, um den Euphoniumspieler Dick Carlson zu ehren. Der Titel des Stückes leitet sich von einer Legende über die Insel Spirit Island ab, die in einem Bereich des St. Louis River liegt, der Spirit Lake genannt wird. Die Legende handelt von Chaska, dem Sohn eines Dakota-Häuptlings, und Wetona, der Tochter des Ojibwe-Häuptlings Buckado. Er war gut aussehend und sie war schön, und so dauerte es nicht lange, bis sie sich ineinander verliebten. In diesem anspruchsvollen Stück kann der Euphonium-Solist sehr ausdrucksvolle melodische Sequenzen, aber auchenergiegeladene, technische Abschnitte erkunden. The Legend of Spirit Island est une commande du Twin Ports Wind Orchestra de Duluth, Minnesota (dirigé par Mark Whitlock), en l’honneur de son joueur d’euphonium, Dick Carlson. L’œuvre prend son titre d’une légende locale concernant Spirit Island, une île qui se trouve dans un élargissement du fleuve St. Louis appelé Spirit Lake. La légende raconte l’histoire de Chaska, fils d’un chef des Dakotas, et de Wetona, la fille du chef des Ojibwés, Buckado. Il était beau et elle était magnifique, et il n’a pas fallu longtemps pour qu’ils tombent amoureux. Ce solo exigeant pour euphonium solo permet au soliste polyvalent d’explorer des séquences mélodiques très expressives,ainsi que des sections énergiques et techniques. The Legend of Spirit Island è stata commissionata dalla Twin Ports Wind Orchestra, Duluth, Minnesota (Mark Whitlock, direttore), per onorare il suonatore di eufonio Dick Carlson. Il titolo si ispira da una leggenda locale sullo spirito dell’isola, che si troverebbe in un punto del fiume St.Louis chiamato Spirit Lake. La leggenda racconta la storia di Chaska, il figlio di Dakota Chief, e Wetona,la figlia di Ojibwe Chief Buckado. Lui era bello e lei era bellissima; non passò molto tempo prima che si innamorassero. Un brano per eufonio solista molto impegnativo nel quale un solista con versatilit può esplorare sequenze melodiche molto espressive, oltre a sezioni tecnicheenergiche.
