Format : Score and Parts
SKU: KN.TDB2204
12 x 9 inches.
Composer Mike Tomaro has created a super even-eighth note ballad that features the ensemble throughout. There is a written 16 measure solo for Tenor Saxophone that may also be improvised. Lush harmony and subtle flowing melodic lines help make this chart a gem.
SKU: HL.292454
UPC: 888680930127. 9.0x12.0x0.282 inches.
This is the authorized 35-40 minute edition of the TYA musical for elementary schools and youth theatres (grades 2-5). Through a series of workshops with industry professionals and actual kids, Younger@Part® musicals are tailor-made for younger actors. Song keys are changed where needed, songs and scenes are edited for time and content, while keeping the spirit of the original show intact. There are great parts for girls, boys and can feature any size ensemble/chorus, who are featured throughout the show. Miss Nelson's class is the worst behaved in the whole school. Spitballs flying across the room, paper airplanes sailing every which way and uncontrollable children send the gentle, long-suffering teacher, Miss Nelson, over the edge. But the students of Room 207 are in for a surprise when Miss Nelson turns up missing and is replaced by Viola Swamp, a scary substitute teacher who assigns homework from hell and wields her ruler like a sword! In desperation, the students set out to find their beloved Miss Nelson - but will they ever get her back? Lessons of appreciation and respect. Click here for information on licensing this production.
SKU: HF.FH-2703
ISBN 9790203427032. 8.3 x 11.7 inches.
1. Wake up (fast rock-boogie); 2. Night of Candle Light (moderate slowi); 3. Skipping-Dance (8-beat-rock); 4. La Vento (fast latin); 5. the Missing Rose (slow rock); 6. Nightwalk (moderate funk); 7. Song for a happy minute (moderate fast); 8. El Verano (new age waltz); 9. I cannot bear (moderate funk); 10. Sigi's Rock'n Roll (fast); 11. Baathroom-Song (popsong).
SKU: HF.FH-2704
ISBN 9790203427049. 8.3 x 11.7 inches.
1. Wake up (fast rock-boogie); 2. Night of Candle Light (moderate slow); 3. Skipping-Dance (8-beat-rock); 4. La Vento (fast latin); 5. the Missing Rose (slow rock); 6. Nightwalk (moderate funk); 7. Song for a happy minute (moderate fast); 8. El Verano (new age waltz); 9. I cannot bear (moderate funk); 10. Sigi's Rock'n Roll (fast); 11. Baathroom-Song (popsong).
SKU: HL.282480
ISBN 9781540034373. UPC: 888680789244. 9.0x12.0x0.868 inches.
Over 80 songs from the decade of excess where Generation X came of age. This collection features arrangements for easy piano with lyrics. Songs include: Another Brick in the Wall * Billie Jean * Caribbean Queen (No More Love on the Run) * Chariots of Fire * Don't Stop Believin' * Endless Love * Eye of the Tiger * Flashdance...What a Feeling * Girls Just Want to Have Fun * How Will I Know * I Love Rock 'N Roll * Jump * Karma Chameleon * Let's Hear It for the Boy * Like a Virgin * Missing You * Nothing's Gonna Stop Us Now * One More Night * Pour Some Sugar on Me * Right Here Waiting * Sweet Child O' Mine * Sweet Dreams (Are Made of This) * Take on Me * Time After Time * Up Where We Belong * What's Love Got to Do with It * When Doves Cry * With or Without You * and more.
SKU: FG.55011-884-3
The first composer to warrant a place in the musical history of Finland, Erik Tulindberg (1761-1814) was an excellent violinist, and he also played the cello. His musical reputation spread all the way to Stockholm (Finland was at that time part of the Kingdom of Sweden), and in 1797 was there admitted as a member of the Royal Academy of Music.The I violin, viola and cello parts of Tulindberg’s String Quartets were discovered in 1923 in the collections of Helsinki University Library. They were copies of the instrumental parts presumably made by Tulindberg himself, though they were possibly never used during his lifetime. Not only is the whole of the II violin part missing; the first movement of the viola part of the fifth Quartet stops in the middle of a phrase, and the last 60 bars or so of the movement’s manuscript page are just empty staves.In the early 2000s, the Rantatie Quartet asked Anssi Mattila whether he would like to reconstruct the missing II violin part. The job was finished in 2004 and the Rantatie Quartet released a Classical Emma-winning disc of the Quartets in 2006.This product includes the full score and the set of parts.
SKU: BR.OB-5282-19
The Kochel still lists the autograph to Mozart's beloved aria but has labeled it missing since 1964. The Neue Mozart-Ausgabe was thus no longer able to take it into consideration. Now, however, the manuscript has reappeared and has been used as an auth. Aria; Classical. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5282-19. Published by Breitkopf and Haertel (BR.OB-5282-19).
ISBN 9790004333273. 9 x 12 inches.
The "Kochel" still lists the autograph to Mozart’s beloved aria but has labeled it "missing" since 1964. The "Neue Mozart-Ausgabe" was thus no longer able to take it into consideration. Now, however, the manuscript has reappeared and has been used as an authentic source for this new edition (1997). Jedenfalls schreibt sie am 16.11.1800 an andre: ... Breitkopf & Hartel habe ich indessen uberlassen sie nochmals zu beurtheilen und nach ihren Criterien zu schazen. Ich habe mich ganz von aller Burgschaft dass sie von Mozart sind losgesagt - das ist die Hauptsache um die es mir zu thun ist.
SKU: CA.3140203
ISBN 9790007295080. German/English. Text: Henrici (Picander), Christian Friedrich.
Only the text and the last page of the autograph score of the Christmas Cantata “Ehre sei Gott in der Höhe†BWV 197.1 (197a) have survived, beginning with the end of the 2nd aria. This, along with the complete surviving 3rd aria are found in parody versions in the Wedding Cantata BWV 197 / BWV3 197.2, from which this cantata takes its BWV number. For a long time there has been a fascinating theory about the missing opening chorus: could this have been the parody source for the Gloria in the Mass in B minor? The musicologist and organist Pieter Dirksen has pursued this, creating a four-part choral version largely derived from corrections made in the autograph of the Mass in B minor. He has underlaid this with the text of the opening chorus (the German translation of the Gloria). What results is a convincing version of the Christmas Cantata – with one of Bach’s best-known choruses as the prominent opening chorus and plausible solutions for the other sections missing in the autograph.
SKU: CA.112605
ISBN 9790007252533. German. Text: Selnecker, Nikolaus.
Samuel Scheidt's eight-part motet Allein nach dir, Herr Jesu Christ survives as an autograph in a composite manuscript in the Stadtbibliothek Braunschweig. However, the original nine part books (eight vocal parts and basso continuo) of this single known source survive incomplete; the first vocal part book is missing. Editor Stefan Steinemann has convincingly reconstructed the missing Prima Vox part, thereby making this work available in a printed edition for the first time.
SKU: CA.3140212
ISBN 9790007301590. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
SKU: BR.OB-5302-27
ISBN 9790004340059. 10 x 12.5 inches.
Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!
SKU: CA.3140211
ISBN 9790007301583. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: FG.55011-882-9
SKU: FG.55011-883-6
SKU: BA.BA11310-90
ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin.
This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.â?¢ Scholarly-critical edition of the â??Requiemâ? fragmentâ?¢ With performance material for presentation of1) the fragment,2) a version with completions of the authentic Mozart sections or3) a full completion consistent with Mozartâ??s musical idiomâ?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozartâ?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragmentâ?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ?â?¢ Easy-to-play piano reductionâ?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critiqueâ?¢ Detailed Critical Commentary (Eng), partly available on the Bärenreiter websiteâ?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)You will find a detailed brochure on the new completion of Mozart's Requiem here.
SKU: HL.14030676
ISBN 9788759863879. Danish.
The 'Ten short piano pieces' with the title Sommerferie i Blekinge (Summer Holiday in Blekinge) (1916) have not been preserved in their complete form. The only existing source is a manuscript in Rued Langgaard's hand that lacks the first and last pages with sections of the music. This means that the entire first piano piece with the title Paa rejse (Travelling) is missing as well as most of Piece II, Mode (Meeting) (only the conclusion of this piece has been preserved). A large fragment exists of Piece X, Aften med Dans (Evening with Dancing), but the conclusion is missing. The manuscript is to be found at the Royal Danish Library in Copenhagen (RLS 83,2). On the first page,Langgaard has merely written 'Piano Pieces 1916': the real title and titles of the movements in the first two pieces derives from other sources. In 2008, the Rued Langgaard Society asked the Danish composer Niels Marthinsen (b. 1963) to add to the work, the aim being to create a 'performance version'. Marthinsen composed a complete new first piece - Paa rejse (Travelling) - and allowed it to merge with the preserved concluding fragment of Langgaard's second piece, Mode (Meeting). Niels Marthinsen further composed a conclusion to the incomplete Piece X, Aften med Dans (Evening with Dancing), and in it incorporated a reference to the first piece, so that his additions came to form a frame round what hasbeen preserved of Langgaard's work. This supplemented version was given its first performance by Berit Johansen Tange in 2008. The overall title and titles of the individual pieces refer to a summer stay in 1913, i.e. three years before the work was composed, when the then 20-year-old composed was on holiday in Kyrkhult in Blekinge (Sweden).
SKU: CA.3140249
ISBN 9790007301620. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: CA.112600
ISBN 9790007252625. German. Text: Selnecker, Nikolaus.
SKU: BR.PB-5317
ISBN 9790004212356. 6.5 x 9 inches.
SKU: CF.CPS254
ISBN 9781491159811. UPC: 680160918409.
PROGRAM NOTES As We Search: Legend of the Brown Mountain Lights is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery. The origin of the lights has inspired numerous legends. As We Search: Legend of the Brown Mountain Lights focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTOR The duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5-6, 9-10, 17-18, 21-22, 41-42, 45-46, 76-77 and 80-81. The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman. Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights. Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist As We Search..PROGRAM NOTESAs We Search: Legend of the “Brown Mountain Lights†is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery.The origin of the lights has inspired numerous legends. As We Search: Legend of the “Brown Mountain Lights†focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTORThe duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5–6, 9–10, 17–18, 21–22, 41–42, 45–46, 76–77 and 80–81.The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman.Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights.Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist “As We Search.â€Â .
SKU: FG.55011-879-9
SKU: CA.5615100
ISBN 9790007249250. Italian.
Great opera in only 10 minutes! An impressive early work by Puccini is finally available as sheet music: The composer wrote the cantata I figli d’Italia bella in 1877 for a competition held by the province of Lucca. The text is a paean to Italy’s brilliant artistic tradition, remembered through the country’s great artists. The cantata has a rather eventful history: Considered lost for many years, a set of parts turned up about 20 years ago in which, however, the vocal solo was missing. Subsequently, the cantata was only performed with a reconstructed solo part. Then in 2019, an anonymous and previously unattributed manuscript was identified as an autograph of Puccini. It became clear that this was the missing complete score! Now we can hear how the composer captured the text in thrilling style with solo tenor, choir and large orchestra to create a vibrant work brimming with youthful sparkle and energy.The cantata perfectly complements Puccini’s Messa di Gloria (Carus 56.001), another early work by the composer that here and there shows some operatic tendencies. The cantata will also appear in Volume III/1 (Compositions for voices and instruments) of the Edizione Nazionale delle Opere di Giacomo Puccini.- Newly discovered Puccini autography- Grand opera on a miniature scale
SKU: CA.3140213
ISBN 9790007301606. German/English. Text: Henrici (Picander), Christian Friedrich.
SKU: BR.OB-5282-26
The Kochel still lists the autograph to Mozart's beloved aria but has labeled it missing since 1964. The Neue Mozart-Ausgabe was thus no longer able to take it into consideration. Now, however, the manuscript has reappeared and has been used as an auth. Aria; Classical. Part. 4 pages. Duration 8'. Breitkopf and Haertel #OB 5282-26. Published by Breitkopf and Haertel (BR.OB-5282-26).
ISBN 9790004333280. 9 x 12 inches.
SKU: CA.112611
ISBN 9790007253400. German. Text: Selnecker, Nikolaus.
