Choral Choir (SATB divisi) - Digital Download SKU: A0.993924 By Editors. By Chris Urbanowicz, Ed Lay, Russell Leetch, and Tom Smith. Arranged by Alain De Ley. Contemporary. Octavo. 8 pages. Alain De Ley #4317811. Published by Alain De Ley (A0.993924). Choir SSAATB arrangement of No Sound but the Wind from The Editors

Digital Download SKU: S9.Q25917 Vocal Score based on the Richard Wagner Complete Edition edited by Wolfgang M. Wagner. Composed by Richard Wagner. This edition: vocal/piano score. Erstveröffentlichung - Oper - Theater. Wagner Urtext Piano/Vocal Scores. Downloadable, Piano reduction. Schott Music - Digital #Q25917. Published by Schott Music - Digital (S9.Q25917). German • French.An important addition to Schott's newly published orchestral material is the first publication of piano scores for the ten major operas by Richard Wagner in all major versions. For the first time, we offer the stages and interested opera lovers piano scores as urtext editions that were designed according to uniform editorial criteria.•The score is aligned with the performance material of the Complete Edition. •All piano scores have study numbers and continuous measure numbers for rehearsal and study practice. •The editors are renowned musicologists from the circles of those working on the Richard Wagner Complete Edition who contribute detailed information on the respective editions to the critical prefaces.•The prefaces are printed in three languages (German, English, French). •The uniform appealing cover design with reproductions of paintings from the Wagner era emphasizes the serial character of the edition.TANNHÄUSERFor the Richard Wagner Complete Edition, the editors Egon Voss, Peter Jost and Reinhard Strohm as well as Cristina Urchueguía have researched and presented Tannhäuser's genesis and history of more than thirty years, which also took about thirty years of scientific work, on 2,959 pages in eight volumes. With the present piano score, the findings gathered therein shall now also to be made accessible for the musical practice. (Wolfgang M. Wagner, quoted from the foreword to the new Tannhäuser piano score)The piano score unites for the first time all four stages of the work (the score as of 1845, the score as of 1860, the Paris version as of 1861/62 with the complete French text of this version, and the Vienna version as of 1875) in a single excerpt for rehearsal and study practice, thus allowing the comparison of the versions, without sacrificing practicability.All variants are printed one after the other in the chronological sequence of the action on the stage, so that each of them can be explored in their context of action by simply turning over the pages. Only two variants rejected before the Paris premiere were printed separately in the appendix. A fascinating insight into Richard Wagner's thinking in terms of stage practice and into his very precise ideas of tonal balance, scenic details and role-conception are made possible by the quotations printed in key passages from his work On the Performance of Tannhäuser, published in 1852.For example, soon after the world premiere, Wagner suggested the deletion of bars in the orchestral part in the 4th scene of Act I, reasoning that […] due to the tremendous woodenness and self-consciousness of our usual supernumeraries, the impression of overwhelming liveliness, which was intended by me and which was to imply a heightening of the mood led up to by the liveliest manifestations of life, was not achieved. (piano reduction, p. 221)In the big ensemble scene at the end of Act II, Wagner puts in a comment at a certain passage, referring to the conductor and his great responsibility for tonal balance:The exclamations 'Ach, erbarm' dich mein!' require such a piercing emphasis that he [the performer of Tannhauser] as a mere, well-trained singer is not enough; it is but the highest dramatic art that has to provide him the energy of pain and desperation for an expression that must seem to break forth from the most gruesome depths of an awfully woeful heart, like a cry for salvation. The conductor has to ensure that the implied success is made possible for the principal singer by the most discrete accompaniment of the other singers as well as of the orchestra. (piano reduction, p. 367)3 (3. auch Picc.) · 2 · 2 · Bassklar. [nicht in Pariser F.] · 2 - 2 Ventilhr. · 2 Waldhr. · 3 Ventiltrp. · 3 · 1 [Pariser F.: Ophicléïde] - P. S. (Trgl. · Beck. · Tamb. · gr. Tr. · Tamt. [Pariser F.] · Kast. [Pariser/Wiener F.) (2-3 Spieler) - Str. Auf dem Theater: 2 Picc. [P/W: 1] · 4 Fl. [P/W: 2] · 4 Ob. [P/W: 2] · Engl. Hr. · 6 Klar. [P/W: 3] · 4 Fg. [P: 2, W: 0] - 12 Wald-Hr. · 12 Trp. [P: 9] · 4 Pos. [P/W: 4 Hr.] - Trgl. · Beck. · Tamb. · Kast. [nur in P] - Hfe. [in P/W].

2 flutes and piano - intermediate to advanced - Digital Download SKU: S9.Q764901 For 2 flutes and piano. Downloadable, Score and parts. Musikverlag Zimmermann - Digital #Q764901. Published by Musikverlag Zimmermann - Digital (S9.Q764901). Throughout music history, the repertoire of music for two flutes has been vast. In this volume, editors Elisabeth Weinzierl and Edmund Wächter have compiled original compositions and arrangements from three centuries for two flutes and piano, which they themselves like to play as encores or on other occasions, but which can also be played in lessons and at school concerts. The selection ranges from Johann Sebastian Bach to Mendelssohn Bartholdy to the contemporary Robert Delanoff.Throughout music history, the repertoire of music for two flutes has been vast. In this volume, editors Elisabeth Weinzierl and Edmund Wächter have compiled original compositions and arrangements from three centuries for two flutes and piano, which they themselves like to play as encores or on other occasions.

B-Flat Trumpet,Horn,Organ,Timpani,Trombone,Tuba - Level 3 - Digital Download SKU: A0.1272749 Composed by Felix Mendelssohn / W.H. Cummings. Arranged by Todd Marchand. Christmas,Holiday,Sacred,Traditional. 23 pages. Con Spirito Music #864944. Published by Con Spirito Music (A0.1272749). One of the “Great Four� Anglican hymns of the 19th century, Charles Wesley’s (1707-1788) “Hark! The Herald Angels Sing� first appeared in the 1739 collection, Hymns and Sacred Poems, by Wesley and his brother John (1703-1791) under the title “Hymn for Christmas-Day.�Based on a verse from the Gospel of Luke (“Glory to God in the highest, and on earth peace, good will toward men.� — 2:14), the hymn tells of an angelic host singing praises from Heaven above to Christ — the God incarnate, Savior and Redeemer of the world. George Whitefield, a fellow Anglican cleric and founder with the Wesley brothers of the evangelical movement known as Methodism, adapted the hymn and published it in his 1754 Collection of Hymns for Social Worship. Additional revisions were made by other editors, including the repetition of the opening lines, “Hark! the herald angels sing / glory to the new-born king� at the end of each stanza, as it is commonly sung today.Wesley envisioned his hymn being sung to the same tune as his “Christ the Lord is Risen Today� (published as “Hymn for Easter-Day� in Hymns and Sacred Poems). However, the tune MENDELSSOHN, an adaptation by English musician William H. Cummings (1831-1915) of music from Felix Mendelssohn’s 1840 secular cantata, Festgesang, is overwhelmingly associated with Wesley’s text today. This arrangement proceeds as follows:•  Introduction: brass, organ, timpani •  Verse 1: organ •  Verse 2: brass, timpani•  Interlude•  Verse 3: organ, brass, timpani, with alternate harmonizationIncludes full score, parts for Organ, Bb Trumpets 1-2, F Horn, Trombone, Tuba, Timpani, and reproducible bulletin insert for voices.©Copyright 2023 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. For more sacred, patriotic, folk, and holiday music for instruments and voices, visit www.conspiritomusic.com

Piano - Digital Download SKU: S9.Q6455 Fingersatz und spielpraktische Einrichtung von Lev Vinocour. Composed by Peter Ilyich Tchaikovsky. This edition: Sheet music. Piano - piano work - lover. Les 12 Pièces et Les Saisons font partie des oeuvres pour piano les plus connues de Tchaikovski car elles peuvent être jouées autant par des élèves avancés que par des amateurs. Downloadable. Op. 40. Schott Music - Digital #Q6455. Published by Schott Music - Digital (S9.Q6455). The 'Seasons' and '12 Pieces' are among the most frequently played piano works by Tchaikovsky since they are also suited for advanced piano pupils and piano lovers. Our new edition was carefully edited by renowned Tchaikovsky researchers and editors of the Complete Edition.

Cello and piano - advanced - Digital Download SKU: S9.Q52946 For piano and violoncello. Composed by Richard Strauss. This edition: score and part. Complete edition - piano - score - violoncello. Downloadable, Score and part. Duration 26 minutes. Schott Music - Digital #Q52946. Published by Schott Music - Digital (S9.Q52946). Key: F major.The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss’s early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss’s Cello Sonata now makes it possible to follow Strauss’s compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors).