Stabat Mater Hob.XX bisOratorio (funeral music) versions from 1767 and 1803The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended in its original orchestration for two oboes or English horn strings and organ.At a later performance of this work probably in 1803 Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision SigismundNeukomm enlarged the wind orchestration by adding a flute two clarinets two bassoons two French horns trumpets and timpani.Urtext from the Haydn Complete EditionHaydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring.Full score performance material (BA4642) vocal score (BA4642-90) available for sale

Stabat Mater Hob.XX bisOratorio (funeral music) versions from 1767 and 1803The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended in its original orchestration for two oboes or English horn strings and organ.At a later performance of this work probably in 1803 Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision SigismundNeukomm enlarged the wind orchestration by adding a flute two clarinets two bassoons two French horns trumpets and timpani.Urtext from the Haydn Complete EditionHaydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring.Full score performance material (BA4642) vocal score (BA4642-90) available for sale

Stabat Mater Hob.XX bisOratorio (funeral music) versions from 1767 and 1803The new scholarly critical edition of Joseph Haydn's Stabat Mater (1767) is published in Henle's complete edition of Haydn's works. This edition is the first to come as close as possible to the lost original and has been compiled using all currently available sources. The score has been fully amended in its original orchestration for two oboes or English horn strings and organ.At a later performance of this work probably in 1803 Haydn attempted to accommodate the intervening changes in musical taste. According to the composer's request and under his supervision SigismundNeukomm enlarged the wind orchestration by adding a flute two clarinets two bassoons two French horns trumpets and timpani.Urtext from the Haydn Complete EditionHaydn’s Stabat Mater in both its original scoring as well as Neukomm's scoring.Full score performance material (BA4642) vocal score (BA4642-90) available for sale

unes for intermediate improvisers Easy, but classic jazz tunes give the student a good start in learning the jazz repertoire - Sample piano voicings, guitar chord diagrams, sample bass lines and useful scales for improvisation are included with each tune, for easy reference - Each songsound good played in rock, funk or Latin styles, as well as swing - Perfect for individual students of all ages, as well as jazz combos - A great resource for music teachers and band directors / Niveau : Facile / Rép International / Recueil / Instruments en Do

Sir James Galway first came upon Gilbert and Sullivan's wonderful operettas while playing with Sadler's Wells Opera orchestra which later became English National Opera. His fondness for good tunes with which G&S operettas abound led to this collection created with longtime collaborator and arranger David Overton. The Gilbert and Sullivan arrangements are divided into separate albums as some of the songs are best suited to solo flute and piano some for two flutes and piano and some lend themselves to a flute choir. This volume for flute duo and piano contains: Dance a Cachucha (Gondoliers) If we're week enough to tarry (Iolanthe) None shall part us (Iolanthe) We'recalled Gondoliers (Gondoliers)

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

Developing Artist Original Keyboard Classics-A comprehensive and carefully graded introduction to authentic Keyboard Sonatinas selected from the established Piano repertoire and arranged to be suitable for the intermediate student.Alongside melodies by composers as celebrated as Beethoven Diabelli and Attwood this anthology of performance pieces includes a guide to help you understand Sonata and Sonatina form itself. You'll also find carefully devised warm-up exercises to help stretch and prepare the hands before tackling these musical challenges.With eleven substantial Sonatinas on offer this collection is an ideal source to expand your performance repertoire as well as an ideal opportunity to gainvaluable early experience of the rigours of classical piano playing.

Alfred's Ultimate Movie Instrumental Solos series arranged for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, cello, and optional piano accompaniment. All wind instrument arrangements are fully compatible, and can be successfully performed as ensembles or solos by students who have completed the first book of any standard band method. A fully orchestrated accompaniment MP3 CD is provided, featuring each song as a live performance demo track followed by a play-along track. The CD also contains a PDF of the Piano Accompaniment and Alfred's Tempo Changer Software. Contains 60 songs, Due to level considerations regarding keys and instrument ranges, the wind instrument arrangements are not compatible with the string instrument arrangements in this series. Contains 60 songs : The Pink Panther (from The Pink Panther) The Meadow Picnic (from Star Wars Episode II: Attack of the Clones) The Merry Old Land of Oz (from The Wizard of Oz) The Notebook (Main Title) (from The Notebook) The Prophecy (from Lord of the Rings: The Fellowship of the Ring) Augie's Great Municpal Band (from Star Wars Episode I: The Phantom Menace) Across the Stars (from Star Wars Episode II: Attack of the Clones) Anakin's Theme (from Star Wars Episode I: The Phantom Menace) Live and Let Die (from Live and Let Die) Marion's Theme (from Raiders of the Lost Ark) May the Force Be with You (from Star Wars Episode IV: A New Hope) Nobody Does It Better (from The Spy Who Loved Me) Obliviate (from Harry Potter and the Deathly Hallows, Part 2) On Her Majesty's Secret Service (from On Her Majesty's Secret Service) Optimistic Voices (from The Wizard of Oz) Over the Rainbow (from The Wizard of Oz) Princess Leia's Theme (from Star Wars Episode IV: A New Hope) Many Meetings (from The Lord of the Rings: The Fellowship of the Ring) Rohan (from The Lord of the Rings: The Two Towers) Song from M*A*S*H (Suicide Is Painless) (from M*A*S*H) Star Wars (Main Theme) (from Star Wars Episode IV: A New Hope) Statues (from Harry Potter and the Deathly Hallows, Part 2) In Dreams (from The Lord of the Rings: The Fellowship of the Ring) James Bond Theme (from Dr. No) Leaving Hogwart's (from Harry Potter and the Sorcerer's Stone) Lily's Theme (from Harry Potter and the Deathly Hallows, Part 2) You Only Live Twice (from You Only Live Twice) Battle of the Heroes (from Star Wars Episode III: Revenge of the Sith) Tuning Note (B-flat Concert) The Throne Room (from Star Wars Episode IV: A New Hope) Thunderball (from Thunderball) Tomorrow Never Dies (from Tomorrow Never Dies) Wizard Wheezes (from Harry Potter and the Half-Blood Prince) Wonka's Welcome Song (from Charlie and the Chocolate Factory) The Black Rider (from The Lord of the Rings: The Fellowship of the Ring) Theme from Superman (from Superman) The Arena (from Star Wars Episode II: Attack of the Clones) The Imperial March (Darth Vader's Theme) (from Star Wars Episode V: The Empire Strikes Back) The Lullaby League / The Lollipop Guild / We Welcome You to Munchkinland (from The Wizard of Oz) Double Trouble (from Harry Potter and the Prisoner of Azkaban) Can You Read My Mind? (from Superman) Concerning Hobbits (from The Lord of the Rings: The Fellowship of the Ring) Cantina Band (from Star Wars Episode IV: A New Hope) Diamonds Are Forever (from Diamonds Are Forever) Ding-Dong! The Witch Is Dead (from The Wizard of Oz) Duel of the Fates (from Star Wars Episode I: The Phantom Menace) Evenstar (from The Lord of the Rings: The Two Towers) Follow the Yellow Brick Road / We're Off to See the Wizard (from The Wizard of Oz) Family Portrait (from Harry Potter and the Sorcerer's Stone) Fawkes the Phoenix (from Harry Potter and the Chamber of Secrets) For Your Eyes Only (from For Your Eyes Only) From Russia with Love (from From Russia with Love) Goldfinger (from Goldfinger) Harry's Wondrous World (from Harry Potter and the Sorcerer's Stone) The Steward of Gondor (from The Lord of the Rings: The Return of the King) Gollum's Song (from The Lord of the Rings: The Two Towers) Gonna Fly Now (Theme from Rocky) (from Rocky) Hedwig's Theme (from Harry Potter and the Sorcerer's Stone) I Swear (from The Social Network) If I Only Had a Brain (from The Wizard of Oz) Raiders March (from Raiders of the Lost Ark)

Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.

Here are 27 easy-intermediate arrangements of familiar melodies in classical folk and jazz styles. Each tune is presented as a trio but these ingenious arrangements work equally well as solos or duets - with or without accompaniment. You can even invite other instrumentalists to play along using the Flute Saxophone Brass and Violin editions in Junior Book B of this series. This highly flexible series of coordinated instrumental books has been designed to give young people the chance to play together in various combinations of numbers and instruments. Perfect for one two or three clarinets - with or without accompaniment May also be usedwith matching arrangements in Junior Book B editions of this series for Flute Saxophone Brass or Violin Optional Piano Accompaniment book with guitar chord symbols available Ideal for individual or classroom use

Here are 19 easy-intermediate arrangements of familiar melodies in classical folk and jazz styles. Each tune is presented as a trio but these ingenious arrangements work equally well as solos or duets - with or without accompaniment. You can even invite other instrumentalists to play along using the Flute Saxophone Brass and Violin editions in Book 2 of this series. This highly flexible series of coordinated instrumental books has been designed to give young people the chance to play together in various combinations of numbers and instruments. Perfect for one two or three clarinets - with or without accompaniment May also beused with matching arrangements in Book 2 editions of this series for Flute Saxophone Brass or Violin Optional Piano Accompaniment book with guitar chord symbols available Ideal for individual or classroom use

Here are 19 easy-intermediate arrangements of familiar melodies in classical folk and jazz styles. Each tune is presented as a trio but these ingenious arrangements work equally well as solos or duets - with or without accompaniment. You can even invite other instrumentalists to play along using the Flute Saxophone Brass and Brass editions in Book 2 of this series. This highly flexible series of coordinated instrumental books has been designed to give young people the chance to play together in various combinations of numbers and instruments. Perfect for one two or three violins - with or without accompaniment May also be used withmatching arrangements in Book 2 editions of this series for Flute Clarinet Saxophone and BrassOptional Piano Accompaniment book with guitar chord symbols available Ideal for individual or classroom use