"The New World," Finale from

Play the world's most dynamic and spirited classical and film music specially arranged for the Solo Piano. Includes the 'Finale' from 1812 Overture by Tchaikovsky and 633 Squadron. For Intermediate level Pianists.

Excerpts from Movement 4. Par MOZART WOLFGANG AMADEUS. Developing an intimate understanding of the world’s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart, and the G-minor Symphony (Number 40) is one of Mozart’s signature works, and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band won’t be playing a “band arrangement”- they’ll be playing MOZART! Don’t forget the opportunity for a music history lesson built into this piece. Masterful! / Niveau : 4 / Classique / Répertoire / Concert Band

Excerpts from Movement 4-Developing an intimate understanding of the world?s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart and the G-minor Symphony (Number 40) is one of Mozart?s signature works and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band won?t be playing a ?band arrangement?- they?ll be playing MOZART! Don?t forget the opportunity for a music history lesson built into this piece.Masterful!

The John Williams Piano Anthology. Over 40 beautiful piano solo arrangements of beloved John Williams themes, including: Theme from Angela's Ashes À Cantina Band À Catch Me If You Can À Theme from E.T. (The Extra-Terrestrial) À Harry's Wondrous World À Hedwig's Theme À Hymn to the Fallen À The Imperial March (Darth Vader's Theme) À Theme from Jaws À Theme from Jurassic Park À The March from 1941 À The Mission Theme À Olympic Fanfare and Theme À Raiders March À Rey's Theme À Scherzo for Motorcycle and Orchestra À Theme from Schindler's List À Somewhere in My Memory À Sophie's Theme À Star Wars (Main Theme) À With Malice Toward None À and more.

Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

ShowTrax CD-Captivate your audience with these powerful messages from the latest Walt Disney hit with great songs by pop powerhouse Phil Collins. Packed with positive energy! This medley includes: Two Worlds Son of Man You'll Be in My Heart Trashin' the Camp Strangers Like Me Two Worlds (Finale). Available: SATB SAB 2-Part ShowTrax CD. Performance Time: Approx. 10:30.

Captivate your audience with these powerful messages from the latest Walt Disney hit with great songs by pop powerhouse Phil Collins. Packed with positive energy! This medley includes: Two Worlds Son of Man You'll Be in My Heart Trashin' the Camp Strangers Like Me Two Worlds (Finale). Available: SATB SAB 2-Part ShowTrax CD. Performance Time: Approx. 10:30.

Par BRUCH MAX. Thanks to the premiere performance by Joseph Joachim and to the release of the printed edition in 1868, Max Bruch's Violin Concerto #1 zipped onto the road to success and has never left it since. Yet from the preface of the 'BreitkopfUrtext' edition,one can infer how things looked like behind the dazzling facade. After the world premiere, the composer struggled for the definitive form. He wrote '3, 4 development sections in the finale,' and sought the advice of celebrated virtuosi such as Joseph Joachim and Ferdinand David to revise the solo part. And after all this was done (see above), Bruch suffered under the work's popularity: 'Have I written nothing but this one concerto?' The new Urtext edition is based primarily on the first edition. Next to the main source and the autograph, what is supremely interesting is a solo part with entries by Joachim and Bruch. It confirms how intensively the two men collaborated on honing the final form of the work./ Répertoire / Alto

In this volume one of the world's most alluring and popular songs The Girl From Ipanema is beautifully arranged for young voices along with the stirring Banana Boat Song and the breathtaking finale to the collection the Argentinian tango La Cumparsita. These fun yet manageable arrangements will delight young choirs time and again. An optional Baritone part is provided for support along with a full Piano accompaniment.The ideal way to add a little Latin swing to your school choral performance.

Charles-Marie Widor is best known for the Toccatta the finale from his Fifth Symphony for Organ but the real heart of his compositional oeuvre lies in the ten Organ symphonies and there is much to be discovered in the rest of his compositional output. This Mass was originally written in 1878 for a choir of Baritones the Chorus of the seminary next door to St Sulpice in Paris the church where he was temporary Organist for sixty-four years and mixed Chorus and two Organs. Although Widor lived in Paris during the years of the radicalism of the decades following World War I he retained a conservatism in composition and musicianship that is evident in this powerfulMass.The entire work has been transposed one half step lower ‘to avoid the awkward key of F sharp major’.

Featuring music from the long-running Disney World/Disneyland nighttime show this exciting closer uses elements from ?A Night On Bald Mountain? together with a percussion section feature and a reprise of the main ? Fantasmic? themes. A dramatic finish to an extraordinary show.