Level 3 - Digital Download

SKU: A0.1401951

Composed by Franz Schubert. Arranged by Roar Kvam. 19th Century,Classical,Latin,Praise and Worship,Romantic Period. 123 pages. KVAMusic Edition #985149. Published by KVAMusic Edition (A0.1401951).

The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815. 

This is the best known of the three shorter mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer. 

The mass no. 2, commonly referred to as Schubert's Mass in G, was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's final intentions,they also include trumpet and timpani parts. 

Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression. 

In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.

2 voices and piano - intermediate - Digital Download

SKU: S9.Q47807

Das Liederspiel. Composed by Engelbert Humperdinck. This edition: single sheet. Singspiel version - fairy tale - Brothers Grimm - folk song - piano reduction - Hansel - Gretel - witch. Downloadable, Separate edition. Duration 55 minutes. Schott Music - Digital #Q47807. Published by Schott Music - Digital (S9.Q47807).

German.

When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin.Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric� Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]�. She enclosed the corresponding verses with the letter and “for fun� also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April.This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment� (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note(E flat) instead of on the four notes of the chord.�The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form.

Bevor Engelbert Humperdincks Märchenoper Hänsel und Gretel zum Welterfolg wurde, hatte das Werk bereits eine vielschichtige Entstehungsgeschichte hinter sich. Humperdincks Schwester Adelheid Wette schrieb 1890 ein gereimtes Märchenspiel gleichen Namens, welches sie gemeinsam mit ihren Töchtern im Familienkreis aufführte. Ihr Bruder hatte die entsprechenden vier Lieder dazu beigesteuert. Während Brüderchen, komm tanz mit mir und Tirelireli in veränderter Form auch in die spätere Märchenoper eingingen, existieren das Schlummerliedchen und das Echo im Walde exklusiv in dieser Urfassung von Humperdincks Hänsel und Gretel. Diese Ausgabe umfasst Humperdincks vier ursprüngliche Lieder, die in dieser Fassung erstmals in editierter Form veröffentlicht werden, ebenso wie den vollständigen Text von Adelheid Wettes Liederspiel aus dem Jahr 1890.

Digital Download

SKU: S9.Q21969

A Ritual of Dream and Delusion. Composed by Harry Partch. This edition: study score. Downloadable, Study score. Duration 75' 0. Schott Music - Digital #Q21969. Published by Schott Music - Digital (S9.Q21969).

English.

Now, one of most unusual works of our time is available as study score in a facsimile edition: 'Delusion of the Fury'. At the time of creation, the great experimenter and sound researcher Harry Partch had fully developed his special scale system. By having specially designed instruments made, he created the prerequisites to bring his ideas of sound and harmony onto the stage. Using 25 of these special instruments, 'Delusion of the Fury' provides the opportunity to experience the musical universe of one of the most extraordinary American composers of the 20th century in all its nuances and hypnotic power.

1. Small Hand Instruments: Alpha - Ugumbo, copy of a Zulu instrument · Beta - Bolivian double flute · Gamma - Rotating drum · Delta - First waving drum · Phi - Second waving drum · Epsilon - Six bamboo claves · Zeta - First bamboo ceremonial pole · Eta - Second bamboo ceremonial pole · Theta - Third bamboo ceremonial pole · Iota - First pair of eucal claves · Kappa - Second pair of eucal claves · Lambda - Third pair of eucal claves · Psi - Fourth pair of eucal claves · Xi - Thumb piano · Omicron - First belly drum · Pi - Second belly drum · Rho - Gourd drum · Sigma - Fiji rhythm boat · Omega - Gubagubi -
2. Stage Left and Center: Harmonic Canon I · Adapted Guitar I und II · Koto · Kithara I und II · Chromelodeon I und II · Blo-Boy · Castor & Pollux (Harmonic Canon II) · Blue Rainbow (Harmonic Canon III) · Surrogate Kithara · Crychord · Cloud-Chamber-Bowls · Spoils of war · Gourd Tree · Cone Gongs -
3. Stage Right: Mazda Marimba · Zyno-Xyl · Diamond Marimba · Quadrangularis Reversum · Eucal Blossom · Boo (Bamboo Marimba) · Bass Marimba · Marimba Eroica · Bass Drum.

Small Ensemble Cello,Flute,Viola,Violin - Level 4 - Digital Download

SKU: A0.811685

Composed by Franz Joseph Haydn. Arranged by Edited by Pat Spence. Classical,Concert. Score and parts. 32 pages. Piper Publications #3662763. Published by Piper Publications (A0.811685).

The second of Haydn's opus 5 quartets for flute, violin, viola and cello published by Hummel in 1767. Unlike the first quartet, the cello part is figured though this piece, like the first, does not need a keyboard. The figuring may have been an after thought and would have enabled the amateur players for whom the published edition was intended to play it with the resources available.
There are 4 movements, Presto assai, Minuet & Trio, Adagio & Presto assai. The quartet will be enjoyed by good amateur and professional players and makes a good companion piece in a concert with any of the Mozart flute quartets written 20 years later. The quartet has been lightly edited: obvious mistakes have been corrected without comment. Dynamics added in parenthesis ( ), slurs in dashed lines, staccato dots have been continued throughout passages where only the first part of a section or the first player has the phrasing indicated. The final chords of both sections of the final movement in the original Hummel edition were given different note lengths: the cello a quaver/8th note, viola and violin crotchet/quarter note and the flute a dotted crotchet/quarter note. In both instances all parts play a crotchet/quarter note. The reason for this is unclear; it may have been a Haydn joke comment on the idiosyncrasies of the players or possibly an adjustment for the acoustics of the room in which the piece was played. It seems to have been deliberate because it appears only at the final cadence of both sections.

Harp - advanced - Digital Download

SKU: S9.Q15608

Composed by Sophia Giustani Dussek. This edition: Sheet music. Harp - sonata. Downloadable. Op. 2. Schott Music - Digital #Q15608. Published by Schott Music - Digital (S9.Q15608).

Sophia Giustani Dussek's opus 2 consists of two books of three sonatas each for the harp. The Sonata in C minor appears in the first book, published by Pleyel in Paris in 1796. In that book, the composer's first name was not mentioned, so the sonatas were falsely ascribed to Johann Ludwig Dussek, who was quite well known in Paris at that time (cf. RISM, D 4605). In the Thematic index of the works of J.L. Dussek by Howard Craw, opus 2 is given as a set of 4 violin sonatas. An edition of the harp sonatas published by Corri, Dussek and Co. in London and Edinburgh is ascribed to Sophia Dussek (cf. RISM, D 4649). The new edition of the sonata published by Schott has been corrected accordingly. The edition is part of the ABRSM syllabus and Trinity syllabus 2007 (grade 7).

Violin and piano - Digital Download

SKU: S9.Q3900

Composed by Robert Schumann. Arranged by Emil Kross and Fritz Meyer. This edition: Sheet music. Edition Schott - Single Edition. Copyright 2009 Schott Music GmbH & Co. KG, Mainz. Downloadable. Op. 124/16. Schott Music - Digital #Q3900. Published by Schott Music - Digital (S9.Q3900).

He gave a present to me and my little Marie of a delightful lullaby composed that Christmas afternoon, Clara Schumann noted in the family diary they shared. This Slumer Song of 1841 Robert Schumann later included as No. 16 in his collection of Albumblätter (Album Leaves) Op. 124. The collection of twenty miniatures for piano was written over a fairly long period of time: the first piedes were written in 1832/33 and the composer started work on the last piece, the Canon, in 1845. In 1853 Schumann had the idea of brining together barious individual pieces that didn't fit in anywhere else in a collection of Albumblätter that was published in December of the same year. It is a bright bouquet of poetic little piano pieces of moderate technical difficulty: there can be no comparsion with grand works such as his G minor piano sonata of Carnaval. These musical aphorisms were not intended for the concert hall, though, but for domestic music making: this is chamber music in the true sense of the term. After unpleasant wrangling that even involved going to court to obtain permission to marry Clara Wieck, there followed a time of intense productivity for Robert Schumann: 1840 was his year of songs and 1841 his year of symphonies. Their marriage, which eventually took place against the wishes of Schumann's father-in-law, and the birth of their first child on 1 September 1841 contributed much to his personal happiness. It was for Marie that the hyppy father now composed this Slumber Song, which has enjoyed great popularity ever since: a simple and tender lullaby, written by the father as a surprise ´gift. This lullgy lends itself very well to being performed on a melodic instrument with piano accompaniment, as in thes edition for violin.

Full Orchestra - Level 3 - Digital Download

SKU: A0.1317490

Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Century,Instructional,Opera,Romantic Period. 110 pages. Artistic Score Engraving di Galvagno Michele #906154. Published by Artistic Score Engraving di Galvagno Michele (A0.1317490).

Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. 
He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musica�. One of the first pupils of the “Lezioni� was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. 

The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. 
In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).

This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible.

A reduction for two pianos is available under Catalogue N° ASE 0051, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.

This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!

Violin and piano - intermediate to advanced - Digital Download

SKU: S9.Q53347

Op. 10/5. Composed by Anton Rubinstein. Edited by Wolfgang Birtel. Arranged by Gustave Sandré. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 10/5. 8 pages. Schott Music - Digital #Q53347. Published by Schott Music - Digital (S9.Q53347).

English • German.

This Romance by Anton Rubinstein is in the same genre. He too was known both as a composer and performer, ranking as one of the greatest pianists of his time. Educated in Moscow, this child prodigy gave his first public performance at the age of nine and then embarked on his first foreign tour. He travelled to Paris, where he met Franz Liszt, who offered advice and encouragement. International appearances made Rubinstein increasingly well-known both as a pianist and composer. His musical legacy is vast, encompassing stage works, chamber music and symphonic works, vocal pieces and piano music. His Romance, originally for piano solo, comes from the collection Kamennoi-ostrow (‘Rocky Islands’) with the subtitle ‘Album of portraits for piano’, op. 10 dating from 1854. Like his more famous Melody in F, this Romance is a charming character piece. Edition based on plate nos. 02382 (piano part) and 02381 (violin part), first published in 1896 as plate no. 25957.

2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download

SKU: A0.1369322

Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio. 19th Century,Classical,Instructional,Opera,Romantic Period. Score. 92 pages. Artistic Score Engraving di Galvagno Michele #953678. Published by Artistic Score Engraving di Galvagno Michele (A0.1369322).

Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. 
He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musica�. One of the first pupils of the “Lezioni� was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. 

The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. 
In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).

This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible. 
M° Capitanio also realised the reduction for two pianos for this title (ASE 0051).

The full score is available under Catalogue N° ASE 0047, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.

This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!

Cello and basso continuo - easy to intermediate - Digital Download

SKU: S9.Q25910

Composed by Stephen Paxton. This edition: Sheet music. Cello Library. Downloadable. Op. 3/3. Schott Music - Digital #Q25910. Published by Schott Music - Digital (S9.Q25910).

Key: C major.

Stephen Paxton was one of the most important English composers for the cello in the transitional period between the Baroque and Classical eras. As the cello repertoire does not feature many very early Classical works his Sonatas op. 3, written for amateur cellists and students, fill a significant gap in tuition repertoire. This three-movement Sonata op. 3/3 is very well suited to the cello and distinguished by its elegant and appealing melodies. The sonata can be played using the first four finger positions. As a cellist Paxton was very familiar with the technical capabilities of his instrument and knew how to make it sing with simple and effective figures. The first movement consists of two sections and has an expressive middle section in C minor. The slow movement uses an Irish folk song (‘Gramachree’), with two dance movements (Minuet 1 and 2) at the end. This new edition reproduces all the details of the first printed version, with just a few dynamic markings added in square brackets. The bass part has been written out in the style of an early Classical keyboard accompaniment so as to underline the galant rococo style of the piece.

String Orchestra - Level 3 - Digital Download

SKU: A0.1355124

Composed by Florence Beatrice Price. Arranged by Marcus Martin. 20th Century,Praise & Worship,Religious. 13 pages. Cornelius Edition (uk) #939841. Published by Cornelius Edition (uk) (A0.1355124).

Florence Beatrice Price (1887 –1953) was an African-American classical composer, pianist, organist and music teacher. Born in Little Rock, Arkansas, Price was active in Chicago from 1927 until her death in 1953. Price is noted as the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a
major orchestra. She composed over 300 works: four symphonies, four concertos, as well as choral works, plus art songs, and music for chamber and solo instruments. ‘Adoration’ – composed for organ, was first published in 1951. This verssion in the original key is playable by String Quintet or String Orchestra. Score and parts included.

Cello,Piano - Level 3 - Digital Download

SKU: A0.1495081

Composed by Ruggiero Leoncavallo. Arranged by Colin Kirkpatrick. 19th Century,Romantic Period. Score and part. 10 pages. Colin Kirkpatrick Publications #1071645. Published by Colin Kirkpatrick Publications (A0.1495081).

When Leoncavallo’s beautiful solo piece Brise de Mer (“Sea Breeze”) was first published in Berlin in 1906, he was already an established opera composer, largely due to his first opera Pagliacci, which had become an international success. An Impromptu is an informal piece usually for solo instrument. This French word can be translated loosely as “off-hand” and it’s used to describe relatively short pieces which sometimes have a partly improvised style, a simple structure and an emphasis on melody. Piano pieces entitled Impromptu first appeared in the early 19th century and remained popular for decades. 

This is a simplified edition of the piece edited by Colin Kirkpatrick. The work has been transposed down to D major from the original E major. The cello part remains unchanged and the bowing and phrasing are identical to the original edition. The music uses the entire cello range in both bass and tenor clefs and the highest note is the high D above the tenor staff (D5). This note appears only twice in the entire piece. The piano part has been simplified by reducing the number of notes in many of the chords, especially those played by the left hand. This is a lovely cello piece which deserves to be heard more often, with its lyrical melody, elegant changes of harmony and contrasting moods. It would make an excellent item for a cello recital.

Concert Band - Level 5 - Digital Download

SKU: A0.1485710

Composed by Franz Lehar. Arranged by Albert Schwarzmann. 19th Century,20th Century,Opera,Romantic Period,Singer/Songwriter. 83 pages. Edition Schwalbe #1062781. Published by Edition Schwalbe (A0.1485710).

Freunde, das Leben ist lebenswert! (Life Is Worth Living, My Friends) is an aria from Giuditta, the last operetta by Austrian-Hungarian  composer  Franz (Ferenc) Lehár, first performed on 20th January 1934 at Vienna State Opera in Austria. It's the first performance aria of Octavio,  a part for a powerfol tenor singer. The large orchestral score is not easy to balance with the tenor part, perhaps even more tricky with wind orchestra.  The arrangement is kept in the original key of the composition for symphony orchestra. Is was first time performed by Mozarteum Wind Philharmonic Salzburg   conducted by Hansjoerg Angerer on 23rd April 2016 in Salzburg, Austria with native of Thailand tenor Nutthaporn Thammathi at their concert Spring in  Sanzburg and repeated by Salzburg Wind Philharmonic with same conductor and soloist at their Three Kings' Concert on 6th January 2023 in the  Grosses Festspielhaus (Large Festival Hall) in Salzburg, Austria and broadcasted live by Austrian television. Live recordings of both concerts are available at  https://www.salzburg-windphilharmonic.at/de/freunde-das-leben-ist-lebenswert/ and  https://www.salzburg-windphilharmonic.at/de/musikalische-verfuehrung-fruehling-in-salzburg/ or https://www.jpc.de/jpcng/classic/detail/-/art/freunde-das-leben-ist-lebenswert/hnum/11521748 and  https://www.jpc.de/jpcng/classic/detail/-/art/musikalische-verfuehrung/hnum/10428713/?iampartner=303&subid=umr7&ref=partner.jpc.de.

Concert Band - Level 5 - Digital Download

SKU: A0.1505894

Composed by Giuseppe Verdi. Arranged by Albert Schwarzmann. 19th Century,Opera,Romantic Period. 419 pages. Edition Schwalbe #1081273. Published by Edition Schwalbe (A0.1505894).

Giuseppe Verdi had the ambition to get some of his operas first performed in Paris. So he composed Don Carlos first in French, and he  also had to deliver a ballet. Ballo della regina is kept as an interlude in the third act of the opera, which premiered on 11 March 1865 at  Opéra National de Paris. The arrangement is kept in the original key of the composition for symphony orchestra and was commissioned by  Mozarteum Wind Philharmonic Salzburg. Due to an overlength program they performed not the whole ballet music, but only the final.  It was first time performed conducted by Hansjoerg Angerer at their Three Kings' Concert on 6 January 2017 at the  Grosses Festspielhaus (Large Festival Hall) in Salzburg, Austria.  A live recording of this concert is available at  https://www.salzburg-windphilharmonic.at/de/viva-litalia/ or  https://www.jpc.de/jpcng/classic/detail/-/art/viva-l-italia/hnum/10428716?iampartner=303&subid=umr12&ref=partner.jpc.de .