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

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.

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].

Concert Band - Level 5 - Digital Download SKU: A0.1177761 Composed by Dan Cook. Classical,Contemporary,Contest,Festival,Instructional. Score and parts. 188 pages. Pecan Valley Music #777724. Published by Pecan Valley Music (A0.1177761). Grade 5Duration; 10:05I) Into the Chisos (3:15)II) Terlingua Nights (4:38)III) Red Ancho (2:12)Piccolo, Flutes 1 & 2, Oboes 1 & 2, Bassoons 1 & 2, Bb Clarinets 1, 2 & 3, Bass Clarinet, Alto Saxes 1 & 2, Tenor Sax, & Baritone SaxBb Trumpets 1, 2 & 3, Horns in F 1, 2 ,3 & 4, Trombones 1 & 2, Bass Trombone, Euphonium, & TubaTimpani, Chimes, Bells, Vibraphone, Xylophone, & MarimbaSnare Drum, Bass Drum, Sus. Cymbal, Triangle, Vibraslap, (3)Tenor DrumsSpirits. According to the Editors of Encyclopædia Britannica, Chisos may be a Native American word meaning “ghost� or “spirit�. The Chizo Indians were a nomadic group that used to inhabit Northern Mexico and the Big Bend area of Texas. The Chisos Mountains are the only mountain range contained entirely within the boundaries of a national park.Spirits. The Terlingua Ghost Town was once the home of thousands of Mexican mercury miners. It is said that the spirits of those miners return to the Terlingua Cemetery annually during Dia de los Muertos to enjoy an evening of celebration and remembrance with their loved ones.Spirits. Red Ancho. A bowl of red. Each fall, hundreds of spirited culinary adventurers travel to the Big Bend area to extract magic and good times from dried, ruby-red chili pods.Big Bend National Park and the surrounding area is like no other place on Earth. The people who call this part of Texas home are also like no other. This piece is dedicated to all of them, past and present, and to the land they cherish.

Mixed choir (SATB div.) a cappella - intermediate - Digital Download SKU: S9.Q18140 Composed by Pascal Martine. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Schott Music - Digital #Q18140. Published by Schott Music - Digital (S9.Q18140). Latin.Above the central prayer of Christianity, the composition with its dense sounds and atmospheric colours develops a mood of profound awe and self-contained strength. An expressive composition of our new composer Pascal Martiné – personally recommended by the editors of your choral department!

Piano - Digital Download SKU: B8.EB-4341 Instructive Edition. Composed by Ludwig van Beethoven. Edited by Frederic Lamond. Sonata. Edition Breitkopf. The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic Lamond. Classical. Score. 264 pages. Breitkopf and Haertel - Digital #EB-4341. Published by Breitkopf and Haertel - Digital (B8.EB-4341). ISBN 9790004162866. 9 x 12 in inches.Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven.   The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.

By Editors. By Tom Smith, Ed Lay, Chris Urbanowicz, Russell Leetch. Rock. Piano/Vocal/Guitar (chords only). 7 pages. Published by Hal Leonard - Digital Sheet Music (HX.88773). - Piano/Vocal/Guitar (chords only) - Rock - Hal Leonard - Digital Sheet Music

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

Handbell, Percussion, 5- Octaves, 4-Octaves, 3-Octaves - Digital Download Composed by Various Writers. Arranged by Hope Editors. Contemporary, World Music, Pop, Easter Sunday, Christ The King, General Worship. Handbell score. 64 pages. Hope Publishing - Digital #2875DP. Published by Hope Publishing - Digital

Guitar - Digital Download SKU: HX.84927 By Editors. By Chris Urbanowicz, Ed Lay, Russell Leetch, and Tom Smith. Rock. Guitar TAB. 3 pages. Published by Hal Leonard Europe (HX.84927).

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1510019 Composed by Sylvan (Sholom) Kalib. Arranged by Benjamin Ayotte, Steven Carryer, and Peter Solomon Gross, Editors. Holiday,Jewish,Praise & Worship,Religious,Sacred. Score. 345 pages. Ayotte Custom Musical Engravings #1085208. Published by Ayotte Custom Musical Engravings (A0.1510019). The Day of Rest was commissioned for the Beth Abraham Youth Chorale, Dayton, Ohio, and its director, Hazzan Jerome B. Kopmar, by Dr. and Mrs. Michael Jaffe in honor of Mr. and Mrs. Lawrence Jaffe, Mrs. Albert Abrams, and in memory of Mr. Albert Abrams.Part I: Lël Shabôs (Sabbath Evening Service)L’chu N’ran’nôKol AdoshemL’chô DodiAdoshem MôlôchV’shôm’ruShôlom AlëchemPart II: Shacharis L’shabôs (Sabbath Morning Service)Shochein AdTisbôrachMim’kom’chôAnô AvdôSh’ma YisrôeilL’chô Adoshem Hag’dulôPart III: Shacharis L’shabôs (Cont’d)PreludeY’hi RôtzonMi Sheôsô NisimUv’nucho YomarPart IV: Musaf L’shabôs (Additional Service for the Sabbath)K’dushas MusafNaªritz’chôKôdoshMim’komoSh’ma YisrôeilYimlochL’dor VôdorYism’chuPart V: Motzôë Shabôs (The Conclusion of The Sabbath)PreludeHavdôlôHamavdilEiliyôhu Hanôvi.

Piano - Digital Download SKU: B8.EB-4342 Instructive Edition. Composed by Ludwig van Beethoven. Edited by Frederic Lamond. Sonata. Edition Breitkopf. The Scotsman and his Beethoven - The 32 Piano Sonatas in the Instructive Edition, edited and supplied with fingerings by Frederic LamondHave a look into EB 4342. Classical. Score. 320 pages. Breitkopf and Haertel - Digital #EB-4342. Published by Breitkopf and Haertel - Digital (B8.EB-4342). ISBN 9790004162873. 9 x 12 in inches.Whereas in past decades Urtext editions with assorted aspirations and readings by various editors were the primary points of departure in addressing Beethoven's piano sonatas, today it is more often the question of what significance so-called instructive editions have in the history of interpretation, what additional benefit is generated from them, and wherein lies their legitimacy. Unlike his teacher Hans von Bulow in his edition of the sonatas, Lamond did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today's musicians in the realization of the musical composition. By the beginning of the 20th century he was a successful and celebrated pianist, concertizing in the US and across much of Europe. He repeatedly caused a stir with his Beethoven projects such as performing sixteen sonatas as well as the Diabelli and Eroica variations within four days at the Queen's Hall in London (1925). Dating from this period is also his edition of Beethoven's 32 piano sonatas that first appeared from Breitkopf & Hartel in 1923. Frederic Lamond thus epitomizes Beethoven interpretation. Even today his name is still associated primarily with Beethoven.   The present ,,Instructive Edition of Beethoven's 32 Piano Sonatas is a part of the ,,Breitkopf Originals series on the occasion of Beethoven's 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation- and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.

Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1510565 Composed by Sylvan (Sholom) Kalib. Arranged by Benjamin Ayotte and Steven Carryer, Editors. Holiday,Jewish,Praise & Worship,Religious,Sacred. Score. 304 pages. Ayotte Custom Musical Engravings #1085764. Published by Ayotte Custom Musical Engravings (A0.1510565). Part I: S’lichot (God the Listener)Ma NoraAshreiTzadik AdoshemB’motzaeiEil Melech YosheivSh’ma KoleinuShomeir YisraeilPart II: Rosh Hashana (God the King)Tik’uUvashofar GadolAleinuHayom Harat OlamAreshetV’al Y’dei AvadechaHal’luyaPart III: Yom Kippur (God the Judge)Kôl NidreiYaªleT’vieinuAna TavoAshamnuRachªmanaAvinu MalkeinuPart IV: N’ila (God the Forgiver)Adoshem, AdoshemY’hi Ratzon (Sh’losh Esrë Midot)Ki Anu AmechaSh’ma YisraëlL’shana Habaa Birushalayim.

Solo Voice and piano - Digital Download SKU: H1.8004DP Composed by Sebastian Temple. Arranged by Jane Holstein. Piano Accompaniment. Vocal Solo Sheet Music Series. General Worship, Peace, Sacred. Vocal score. 4 pages. Hope Publishing - Digital #8004DP. Published by Hope Publishing - Digital (H1.8004DP). By Sebastian Temple. John 12:24 - Luke 11:4 - Matthew 10:39 - Matthew 5:1 - Matthew 5:2 - Matthew 5:3 - Matthew 5:4 - Matthew 5:5 - Matthew 5:6 - Matthew 5:7 - Matthew 5:8 - Matthew 5:9 - Matthew 5:10 - Matthew 5:11 - Matthew 5:12 - Matthew 5:14 - Matthe.Popular hymn by Sebastian Temple Hope's editors had this piece in the pipeline before Princess Diana's untimely death, but its power was attested to upon its inclusion in her funeral. Jane Holstein's arrangement is tender, artistic and accessible.

Instrumental Duet Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.534483 Composed by Germaine Tailleferre. 20th Century,Concert,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3534799. Published by Musik Fabrik Music Publishing (A0.534483). This work was written in the first months of 1942 while Tailleferre was living in Grasse, in the socolled« Free Zone » of occupied France during the Second World War and was completed just asTailleferre was forced to flee France with her daughter. As the wife of Jean Lageat, who had been thesecretary of the French socialist Léon Blum during the « Front Populaire » period just before the Warand who was at that time in the US working against the Vichy Government, and as someone who wasnot unvocal about her political views, this could not have been a comfortable situation. Tailleferre left arecord of what she experienced during this period in an article written for the American music journal «Modern Music » which she wrote shortly after arriving in America in the Spring of 1942 :« Notwithstanding their staunch spirit of resistence, the people under German rule today areincreasingly bowed down under their burdens. By achieving the physical decline of the French, theNazis hope that spiritual collapse will ensue. However, after two years of quasi-famine, France remainspround and great, although the necessity of liberation grows daily more urgent.....For an artist to workunder these conditions is almost impossible. The mere effort of subsisting wastes time and absorbsenergy ; The means to work are also lacking.....Musical composition is made practically impossiblethrough lack of music paper. For more than a year, I sought in vain to find paper in Lyon, Marseillesand Nice on which to copy an orchestral score...Two years of experience under German rule havetaught me that all expressions of pride, dignity, spirit , aspiration of the human will can be made onlyclaudestinely. It is a historical truth that the human mind makes its greatest progress under freedom ».Under such circumstances, it is a miracle that this work exists at all. The three movement work wasdedicated to the famous Marguerite Long, for whom Tailleferre had already written several short worksfor piano solo, and François Lang, a pianist who was closely linked with the Group des Six and whohad performed in the première of the 1934 Concerto Grosso for Two Pianos, 8 Solo Voices, SaxophoneQuartet and Orchestra and for whom Tailleferre wrote two cadenzas for concerti by Mozart and Haydn.The work opens with sunny, optimistism in a mood similar to the opening movement of the ConcertoGrosso, but quickly the mood changes to more dramatic themes. The second movement seems tosubjectively express a rupture with the past and a tragic melancholy. The final third movement isextremely dramatic and almost frightening with it’s force.When Tailleferre left France in the Spring of 1942, having been warned by a neighbor that she wasgoing to be arrested if she didn’t leave immediately, she left the score in a two-piano version, probablydue to the fact that there was no music paper to be had to copy the score. When she returned to Francein 1946, she learned that François Lang had been deported to Auschwitz where he died. Musical life inFrance had been completely changed by the War years. Tailleferre put the work aside and forgot aboutit, perhaps wanting to forget the hardships that she had lived through and the loss of many of her friendsassociated with these years.Tailleferre's version for two pianos is published by Musik Fabrik and the work may be performed inthat version. It is clear however, that the work was intended to be orchestrated and the editors hope thatthe present orchestration will allow the work to finally be presented as Tailleferre conceived duringsome of the darkest years of the Twentieth century.