A Trumpeter's Pleasure

SKU: HL.49043952

ISBN 9790220134463. 0.38 inches. English.

This work's title comes from DM Thomas's dramatic poem on an imagined episode in the life of Cleopatra. Cleopatra offers any three men from her royal court a night of unbridled passion, in return for which they must forfeit their lives the next morning. Three men step forward, the last of which is the son she had by her brother Ptolemy, whom she gave away at birth. Unaware that Cleopatra is his mother, he gives her wine laced with mandragora and makes his escape before daybreak. The grisly tale provided the composer many opportunities for dramatic characterisation. The use of a narrator necessitated an episodic structure in which the music captures the atmosphere suggested by the text, and mirrors the different moods as the journey unfolds and the three characters live out their different fates.

The title Deadly Pleasures was suggested by the content of D.M. Thomas's dramatic poem on an imagined episode in the life of Cleopatra. Cleopatra offers any three men from her royal court a night of unbridled passion, in return for which they must forfeit their lives the next morning. Three men step forward, the last of which (unbeknownst to all) is the son she had by her brother Ptolemy, whom she gave away at birth. Unaware that Cleopatra is his mother he gives her wine laced with the drug mandragora and escapes his grisly death before daybreak.The music of Deadly Pleasures skilfully captures the diff erent episodic moods of the text as the journey unfolds, and the three characters live out their diff erent fates.

SKU: BT.EMBZ14731

The latest publication by the well-known teacher of wind instruments, Péter Perényi, includes pieces that even absolute beginners on the trumpet can play: the pieces in the first chapter, entitled 'Introduction to chamber music', enable even young trumpeters who can play just one noteon the instrument to discover the pleasure of shared music-making. Rhythm games, European folk tunes, then a wealth of easy performance pieces (from the medieval period, through Beethoven's Ode to Joy right up to the present day) make up the valuable content of this volume.

Die neueste Ausgabe des bekannten Blasinstrumentenlehrers Péter Perényi beinhaltet auch Stücke für ganz kleine Trompetenspieler: In den Stücken des Kapitels ‚Einführung in die Kammermusik' können auch schon die Anfänger die Freuden des gemeinsamen Musizierens kennenlernen, die erst einen Ton spielen können. Rhythmik- Spiele, europäische Volkslieder und dann die vielen leichten Vortragsstücke mit Klavierbegleitung (vom Mittelalter über die Ode an die Freude von Beethoven bis zur Gegenwart) machen den reichen Stoff des Bandes aus.

SKU: AP.36-BSMSB112

UPC: 659359620720. English.

The solo composition OLIVER'S BIRTHDAY from award-winning composer Bruce Broughton has become a sought-after work by today's trumpet players. With a naive, relatable melody that spins off into a flurry of mixed meters and tonality, the work has become an immensely popular solo for trumpet and piano throughout the world, and also recorded by Philip Smith for the International Trumpet Guild. It is with pleasure that the publisher makes available this colorful arrangement by the composer for band.

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: BA.BA10303-01

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: AP.SB90

ISBN 9780769221311. UPC: 029156185300. 9x12 inches. English.

Edited especially for flute players. May be used as supplementary etudes or just for fun.

SKU: AP.28608

UPC: 038081311524. English. English setting by Patrick M. Liebergen; music by Marc-Antoine Charpentier.

The optional trumpet and timpani parts (available on the SoundPax and SoundTrax CD) and a brief vocal trio make this majestic Charpentier chorus stand out from the rest of your masterwork repertoire. Stately and strong. Includes parts for trumpet and timpani.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: AP.28845

UPC: 038081313894. English.

A light bossa nova beat is the groove of this upbeat music number. The lyrics are entirely in English except for the title, Cante una Canción, which means sing a song. Singable vocal lines are supported by an easygoing piano accompaniment. Ideal for general concerts any time of year. Featured on the Hooray for Hollywood! movement DVD #28868. Includes parts for tenor sax., trumpet, trombone, maracas, and rhythm.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.