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.

Concert Band - Level 4 - Digital Download

SKU: A0.1021849

Composed by Julius Fucik. Arranged by Albert Schwarzmann. Romantic Period. Score and parts. 132 pages. Edition Schwalbe #6643353. Published by Edition Schwalbe (A0.1021849).

Julius Fu�ík (1872 - 1916) was a famous Austrian-Hungarian military bandmaster, who composed more than 400 pieces during his short lifetime. First of all he was known as a king of marches: His Florentiner March and Entry of the Gladiators had worldwide success, but also some of his overtures and waltzes became very popular. His concert march Under the Admiral's Flag was composed in 1911and had its first performance, when the Austrian-Hungarian battleship Viribus unitis premiered its launching in the former Austrian military habour of Pula in Istria. This arrangement keeps the key of the symphony orchestra version, while most band arrangements transpose a whole tone lower.

This transcription was commissioned by Wind Philharmonic Mozarteum Salzburg and first performed conducted by Hansjoerg Angerer at their 2014 New Year's Concert on January 6th in Salzburg, Austria. A live recording of this piece is included on the CD Eine musikalische Reise UMR65, Barcode 9120007612141 available at https://naxosdirekt.de/items/eine-musikalische-reise-557962 .

For details see also: https://www.blaeserphilharmonie-mozarteum.at/

Percussion Ensemble - Level 5 - Digital Download

SKU: A0.1027778

Composed by MohammadHadi Ayanbod. 20th Century,Contemporary. Score and parts. 25 pages. Rimorarte Edition #5996957. Published by Rimorarte Edition (A0.1027778).

In GRAVITY I explored different gravities as forces we not only feel them in every moments of our lives, but also thinking of living without or escaping from them seems impossible. Likewise, those gravities exist in the music, make us feel the music continuous, desirable, logical and an integrated language of art. The exploration of the path from chaos to unity, and from unity to multiplicity, is where the title came from.

GRAVITY consists of two main sections. The first section, which shows the fully-grown and flourished musical ecosystem, and the second part; a flashback to just after big-bang, which tries to musicalize the creation of the gravity! In the first section, I’ve used the concept of horizontal and vertical minimalism. At the very beginning of the piece we have a structure that bring the idea of the vertical minimalism out. In every moment, each instrument plays the same note as others. However, the narrative line is divided into different octaves, so, the melody is not the same in spite of the fact that each instrument plays the same tone. This structure also reminds the paradoxical ladder or optical staircase illusion. The narration is built up until it reaches temporal climax. At the same time, this melody starts again from the beginning with some microscopic differences visible vividly to musicians. This semi reciprocating musical narration, could be observed as a musical example of the staircase illusion. After this part, but still in the first section of the music, I’ve used the horizontal (traditional) minimalism idioms to explore the bounding forces present in the music. Although, what interesting here is the creation of synthetic voices which is the result of different amounts of the nuances and different combinations of the sound. For keen ears, it seems like shades of neon lights, penetrate into one another in the scale of time and create a big picture of micro fluctuating objects.

In the second section or just after big-bang, I’ve observed and recreate musically, the very moment of creation of the gravity just after the big-bang. Here, we don’t have melody, rhythm, structure, narration and other aspects of the music in the traditional way, although all of them are present in the music. very single sound or noise is meaningful and showing the assemblage process of the forces in the music to create a melody line. I’ve occupied idioms of contemporary Sonorism genre to create the atmosphere. This highly complex texture shows the virtuosity of interpreters and the capability of the instruments in avant-garde literature and extended techniques.

The music is concluded by a fast-tempo finale, with the instruction of fortissimo possiblile (as loud as possible). The piece, in fact, will not be finished as a morendo, but, it opens a space for hypothetically living structure; constantly grows, flourishes, shines and decays.

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!

Instrumental Duet,Piano Baritone Horn TC,Euphonium,Instrumental Duet,Piano - Level 5 - Digital Download

SKU: A0.842571

Composed by Gioachino Rossini. Arranged by Sean Brennan. Classical,Concert,Graduation,Romantic Period. Score and parts. 19 pages. Bl_music #6643225. Published by bl_music (A0.842571).

Theme and Variations by G. Rossini, arr. Brennan for Solo Euphonium/Baritone with Piano accompaniment

This edition is the theme and variations from Rossini's Introduction, Theme and Variations originally for clarinet and orchestra.                

This version has been performed and recorded by a number of internationally renowned Euphonium soloists.

We first published the complete Introduction, Theme and Variations for Euphonium in 1991 and performed it on a 1830s ophicleide and a 1840s square piano in 1993. This edition comes with a shortened introduction,theme and variations. Duration around 8 ½ min.

Solo part in treble and bass clef.

Message from Sean Brennan:

This arrangement, or more correctly transcription, was first published by us in 1991, although its origins go back much further than that. I do remember being transfixed in the 1970s by Richard Stoltzman’s recording of the original form of the work for clarinet and orchestra. I was convinced it would work for Euphonium and that one day there would be players with the technique, and above all musicality, to bring it off. For me, this vision came true in 1994 when we first performed the piece in Birmingham in 2004, and then again 10 years later when David Thornton and the Black Dyke Band recorded the Theme and Variations.

Rossini composed the Introduction, Theme and Variations for clarinet and orchestra in 1810 at the request of a fellow student at the Conservatorio di Bologna. Although the autograph score has been lost, and some musicologists have questioned the authenticity of the work, I find no reason for doubt since Rossini recycled some of the material in later works, and apart from that his evervascent musical personality is abundant from beginning to end.

Piano,Violin - Level 1 - Digital Download

SKU: A0.1134051

Composed by Alan Bullard and Julian Carlick. Classical,Instructional,Traditional. 14 pages. Oval Music Edition #734166. Published by Oval Music Edition (A0.1134051).

From the First Lesson for Student Violinists. 14 Short pieces with accompaniment for the teacher on the Violin or playing a keyboard, (available separately). The first book in a series of nine. Suitable for classes of learners as well as individual. Compatible with Viola, Cello and Double Bass who can all play along together. Jolly music right from the first fifteen minutes of picking up the instrument. Make real music with harmony with these familiar and original tunes (not songs because nobody is singing!!) The nine Collections can be bought individually, in two parts or in one volume of 66 pages.

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!

Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download

SKU: A0.533315

Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 48 pages. Musik Fabrik Music Publishing #2343071. Published by Musik Fabrik Music Publishing (A0.533315).

French composer Jacques Leguerney (1906-1997) has been recognized for his
outstanding oeuvre of songs for voice and piano, mostly composed upon poems of the
French poets of the Pleiade. After his death, the Leguerney Estate decided to allow the
publication of his instrumental chamber music. These works, many of which were
written in his early years, are valuable contributions to the French chamber music
repertoire, representing the 20th century from its early years through World War II.
This Trio was composed in 1928, but not performed until December 3, 1932. The
respected French musicians Hortense de Sampigny (violinist) and Jacques Serres
(cellist) gave its first and, as far as we know, only performance along with
Leguerney’s friend and mentor, Thérèse Cahen, at the piano. The concert including
this work was organized by the Société Musicale Indépendante at the concert hall of
the Ecole Normale de Musique in Paris. A review, in the Journal des débâts, reads:
“We do not know this composer. Judging from his composition, whose variegated
style reminds us of [Cesar] Franck, of Maurice Ravel and of Spanish dances, he must
be quite young.�
The same month as this performance, Leguerney’s father, Marcel Leguerney, died. At
this point, he interrupted his musical activity in order to take over his father’s business
to support his mother and sister. He was not able to resume musical composition until
1940, when the outbreak of the war led him to close the business.
This edition is based upon two autograph manuscript sources of the full score, as well
as copyist’s parts for the violin and ‘cello. His first completed sketch as well as his
final copy are in the Leguerney archives. The parts, made by a copyist, were obviously
used for a performance, and contain suggested phrasing, as well as bowings (which
we have not reproduced). We surmise that the violin and ’cello parts were used for the
first performance. We also think that Thérèse Cahen must have kept her piano score,
as the copyist's score of it was not found with the other parts.
We have added rehearsal numbers, and corrected a few notational mistakes in the
manuscript.
We would like to thank Jean Libermann, cellist, and Marion Larigaudrie, violinist,
for their advice in the preparation of this edition.

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.

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 .