Haydn's Symphony Hob. I:89 belongs to a group of symphonies composed between the 'Paris? symphonies (Hob. I:82-87) and their 'London? counterparts (Hob. I: 93-104) - the last ones he wrote before his trips to England in 1791-92 and 1794-95. The Symphony in F major is dated 1787 in the autograph score. In this work Haydn borrowed two movements from an earlier piece, possibly owing to deadline press…

This stunning new collection features 20 previously unpublished piano works by Florence Price, ranging from intermediate to early advanced. Very little of her music was published in her lifetime (1887-1953) but hundreds of never-before seen manuscripts were found in 2009. While her music is firmly in the European tradition, influences of the American South and Black life are prevalent, as demonstr…

Par BIZET GEORGES. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic ?Te Deum laudamus?, to the skillful choral fugue of ?Fiat misericordia tua?, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset t…

(Homage to Haydn). Par GOEHR ALEXANDER. My piece is subtitled ‘Homage to Haydn’. Why? Because it is modelled on Haydn’s Variations in F minor/major. But modelled does not imply pastiche or imitation. From Brahms onwards (if not before) there are countless examples of pieces modelled on others in a variety of ways. To do this does not imply a closeness to the original, rather inevitably a distance …

Par STANDFORD PATRIC. (KS3/GCSE:A1/AL) Listening, composing and performing are the foundation of Projects, Patric Standford’s exciting new composition manual that meets the varied demands of ‘A-level’ and undergraduate courses. Former head of Composition at Bretton College of Higher Education, respected composer and tireless advocate of new music, Standford begins unashamedly with melody. Through …

Par CURNOW JAMES. An important part of our Essentials of Musicianship Series, Scale Studies for Band is designed to be used as an instructional aid during your normal daily practice. Written so that the scale studies can be interlaced at appropriate times into your rehearsal, they enable you to address the scale and key considerations of your next piece just before starting that piece. For instanc…

This Recorder Fun!(TM) pack makes learning to play recorder easy, even if you've never played before! In no time at all, you'll be playing your favorite songs from the Disney live action film Beauty and the Beast. The pack includes a high-quality beginner's recorder with the feel and tuning of a pro model, plus a songbook with easy instructions. The book features a fingering chart, black-and-white…

The books in the Jazz Play-Along series have been designed for use with all B-flat, E-flat, Bass Clef and C instruments. These books are the ultimate learning tool for all jazz musicians. Featuring musician-friendly lead sheets, melody cues, and other split-track choices in the included audio tracks, this first-of-its-kind package makes learning to play jazz easier than ever before. The included o…

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …