For more than 200 years Mozart?s piano sonatas have been part of every pianist?s repertoire. Research done over the last few decades has made it possible, however, to establish more accurate dating and ordering of these works. Expert examination of original documents has shown that many printed editions from the eighteenth Century give more reliable detail than Mozart?s own written scores; many of…

piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example “Music from afar” for 2 bass recorders, or “Balalaika” for a solo violin playing pizzicato throughout. This predilection for the unusual leads the composer in “…

Arr. Philip Sparke. Par REGER MAX. During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op. 135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind…

for Alto & Tenor Saxopone. Par KOCH CLAUS HENRY. Though I consider myself to be primarily a jazz performer, classical music - above all instrumental baroque music and Viennese Classicism - have always been very important to me. For quite a long time, particular elements characterizing these styles of music have occasionally been integrated in some of my jazz compositions. With these pieces, I am n…

Par AMMANN DIETER. 'CUTE' in this context, refers to a fusion of compositional techniques between Clarinet and Flute, rather than the literal 'charmingly innocent'.The main idea is to treat the clarinet and flute as converging to a single instrument. Independent voices are therefore rarely heard, the interlocking of the instruments, the blending of the colours are important components. Although th…

Critical edition by Michael Talbot. This motet for soprano, strings and basso continuo, is the only one by Vivaldi to be preserved outside Italy. It is included in two manuscript collections in London: a set of parts in the Royal College of Music and a score in the British Library. The structure is the conventional one of two arias enclosing a short recitative and followed by a brilliant Alleluia.…

Il Distratto. Par HAYDN JOSEPH. The six movements of Joseph Haydn’s Symphony No. 60 “Il Distratto” once served as incidental music for the comedy “Le Distrait” by Jean-François Regnard (1655–1709), which was performed at the Esterházy court in 1772. This consisted of an overture, four entr’actes – the play is in five acts – and a finale. But this composition is not merely a compilation of stage mu…

Par ZUCCO FRANK. Based on 50 years of teaching and performing on the accordion, Mr. Zucco has provided us with a complete and thorough accordion method for children. In this single volume, three levels of clear, easy-to-understand instruction teach music reading and playing from the very beginning, supplemented by original solos and arrangements. Students learn to play by feel and touch rather tha…

Created in 1851, 'Ride of the Valkyries' is the prelude to the third act of the music drama 'The Valkyrie'. The purely instrumental version soon found its way onto the concert stages and turned out to be a first-rate attraction. Apart from 'Treulich geführt', 'Ride of the Valkyries' probably is Wagner's most popular melody.More intimate insights, however, are given by 'Siegfried-Idyll'. In 1870, R…

Par VAN DER ROOST JAN. In this colourful composition, Jan van der Roost recreates the energetic and multi-racial city life in Manhattan, using four contrasting movements. The opening movement is rather short and rhytmical. In the second “Picture”, a variety of musical entities accumulate into a coloured “sound curtain”, on top of which the brass section presents a broad theme. In contrast to the t…

Par ELLIN BENJAMIN. Nahstops 2 was written in 2004 at the request of James Watson, then Head of Wind, Brass and Percussion at the Royal Academy of Music. ‘Jim’, as we knew him, had been a supporter of my music during my student days and the only prerequisite for this piece was that it fitted the same instrumentation as Elgar Howarth’s version of ‘Pictures at an Exhibition’; ie, a large symphonic b…