Johann Pachelbel: Canon For Strings (Score/Parts)

Score and Parts edition of Pachelbel's Canon For Strings, arranged for strings by Hawley Ades. Duration 5 minutes.

Chorale and Canon

The opening Chorale section of this very appealling beginning band piece introduces the theme that is then used in the Canon that follows. Skillfully designed to pass the melody to every section, this is a very rewarding piece forbeginning groups. First published in 1984.

Canon of Peace (Dona Nobis Pace)

Paul Jennings as created an outstanding setting for this familiar canon for beginning groups. Starting softly with the woodwinds, the piece builds gradually throughout giving every section a chance to play this marvelous melody.

Marcel Dupre: Sept Pieces Op.27

1.Souvenir 2.Marche 3.Pastorale 4.Carillon 5.Canon 6.Legende 7.Final

Canon In D

From symphony orchestras to the Canadian Brass, this may be the most recorded title in history. Now you can program this very playable version, written especially to teach students important musical concepts.

Mikko Heiniö: Minimba I - For Four Guitars (Parts)

Minimba I , by Mikko Heiniö , was composed in 1982 and is a Canon for four (or three) Guitars.

Johann Pachelbel: Canon (Orchestra)

Per Nørgård: Canon For Organ

Substantial Work for Organ dating from 1971.

Song of Songs (SSA Chamber Version)

This is the fourth version - scored for solo soprano, SSA choir, string quintet and harp - of Hawes’ setting of texts from The Songs of Solomon as adapted by the composer’s brother Canon Andrew Hawes. This is the fourth version - scored for solo soprano, SSA choir, string quintet and harp - of Hawes’ setting of texts from The Songs of Solomon as adapted by the composer’s brother Canon Andrew Hawes.

Pachelbel's Christmas

Combining the familiar Canon in D with a multitude of popular Christmas carols, this clever and unique arrangement for beginning bands will be the talk of the concert. See how many tunes you can identify.

Théodore Dubois: Douze Pièces Nouvelles Pour Orgue

Prélude (D min) et Fugue (D maj); Chant pastoral (C min); Cortège funèbre (F min); La Fête-Dieu (C); Canon (Ab); Alléluia (Eb); Noël (A min); Fiat Lux (E); In Paradisum (G) Offertoire (D min); Thème provençal varié (C min); Marche triomphale (Eb)

Toccata

Most commonly known for his famous Canon in D, Johann Pachelbel was an organ virtuoso and composed many works, including several toccatas. This toccata has been carefully adapted for strings into the key of D, with someadded dynamics, but with the original tempo variations and ornamentation preserved. An ideal teaching and performance piece from master arranger Lloyd Conley. Dur: 2:15

Composing Canon in the German Democratic Republic : Narratives of Nineteenth-Century Music

Robert Alexander Schumann: Duos d'après les Etudes en Forme de Canon (Trio - Piano)

1.Romance; 2.Intermezzo; 3.Adagio; 4.Humoresque

Russian Operatic Arias for Soprano : 19th and 20th Century Repertoire

Fifteen arias from the Russian operatic canon that span the breadth of the 19th and 20th centuries, selected and edited by David Fanning for Soprano and Piano.Each aria is complete with translations in English, German andFrench, as well as a pronunciation guide. You'll find a full synopsis of each featured opera explaining fully the context in which each aria is presented. Includes works by Glinka, Shostokavich and Tchaikovsky.

Igor Stravinsky: Les Noces (Vocal Score)

A sumptuous, paintakingly researched and fully authoritative edition of Stravinsky's 'Choreographic Scenes With Singing And Music' in large-format vocal score. Part of the Chester Stravinsky Edition series, this presentation of Les Noces is fully edited by Margarita Mazo, based upon relevant autograph and printed scores. The book includes a substantial analytical history of the work, examining the significance of the piece in the canon of the great Stravinsky scores. You will find a full choreographical assessment by Stephanie Jordan, alongside a detailed critical commentary by Mazo and associate editor Millan Sachania. A comprehensive bar-by-bar guide to the texts and transliteration is also included, making this a indispensable edition for the choral leader and accompanist.Performance text in French and Russian.

Gustav Mahler: 1st Symphony 3rd Movement 'Bruder Martin' (Score/Parts)

The tune 'Brother John,' or 'Bruder Martin' to Mahler's recognition, is used in the third movement, titled 'Funeral March in the Manner of Callot,' to create a sense of irony. The inspiration for this section was a woodprint from a book of fairy tales. The print depicts forest animals serving as pallbearers at a hunter's forest funeral. The question is not so much, 'Are you sleeping (forever)?' as it is 'Are we mourning or celebrating?' The animals appear unsure whether to focus on the end of the hunter, or the end of the hunt. Mahler sets the tune in a minor key to stress this irony as the music moves between merriness and brooding. The tune appears as a canon, or round.

The Art Of Fugue

The Kunst der Fuge is a cycle of fourteen fugues and four canon. In this edition for organ by Edition Peters.It is to be demonstrated what, phrased by the first Bach-biographer Johann Nikolaus Forkel, „was möglicher Weiseüber ein Fugenthema gemacht werden könne. Die Variationen, welche sämmtlich vollständige Fugen über einerley Thema sind, werden hier Contrapuncte genannt“. To clarify the contrapuntally structure of the work, Bach scored everyvoice (all occurringfugues, doule-fugues, play-fugues and more are four-handed at most) on individual staves, meaning scores. Doing this he follows old traditions, scoring polyphonic key-music, which reached its prime-age inthe17th century.The final sequence by Bach is controversialto this day. The fragments not only cause manifold speculations but is key to meticulous, music-historcal and critical analysis of the sources.

Guitar Repertoire, vol. 1 : da Milano to Villa-Lobos

In this ambitious series, Bryan Johanson and Jesse McCann seek to address this missing element in the study of classical guitar. In light of the sheer volume of guitar music written over the centuries, not to men- tion early works by the guitar’s plucked-string relatives, the authors’ choices were by necessity limited to a select group of “standards.” These might be considered among the most popular works in the guitar canon, admired over the years by performers, students, and audiences alike for their beauty, musical expression, and idiomatic sonority. There are, of course, other pieces that could have been included. But by choosing works that give a broad survey of styles across musical periods (Renaissance, Baroque, Classical, Romantic, and early 20th century) written by some of the guitar’s most important composers, the authors present a com- prehensive cross-section of the essential repertoire for the instrument. - William Kanengiser

More Classical Highlights

More Classical Highlights is the follow-up to Classical Highlights, a collection featuring arrangements of classical themes dating from the 17th century up to the19th century. The parts are quite easy and attractively written, but the arrangements stay as faithful as possible to the original works. Baroque music is represented with two highlights: the well-known Canon by Pachelbel may well be the most performed 17th century composition. The power of the piece lies in a bass line of only eight notes, above which the melodic line of the round itself develops. Réjouissance from Music for the Royal Fireworks is a very joyful composition bythe Anglo-German baroque composer Handel. The 18th century classical style gives us the refined minuet by Boccherini, the Italian composer who wrote a wealth of chamber music. The 19th century features in three famous works: the lively Marche Militaire No 1 by the Austrian composer Schubert originates from 3 Marches Militaires for four-handed piano. The Can Can from Orphée aux enfers (Orpheus in the Underworld) is the best-known separately performed piece by the operetta composer Offenbach. Following this exciting dance music there is the beautiful, lofty Largo theme from the second movement of Czech composer Dvorák’s From the New World Symphony. In short: Six varying arrangements - challenging and very suitable for performances!

Flowersongs Stemmer, Kopi

Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word; but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen

Edward Gregson – Horn Concerto Orchestral Version – Full Score

The Horn Concerto was written in 1971 and was the first of the ten concertos Gregson has composed to date. It is dedicated to the English horn player Ifor James, who died in 2004, and was originally written for brass band. However, in 2013, Gregson was asked by Paul Klein, Principal Horn of the Ulster Orchestra, and BBC Northern Ireland, to undertake an orchestral version for him.  Gregson decided to score the concerto for a late Haydn sized orchestra, with the addition of a percussionist to add some colour to the texture. The concerto takes as its starting point the Mozartian model, namely a sonata form opening movement, a song-like slow movement, and a jaunty rondo finale. The opening movement opens with a strident motif built on rising fourths, announced by the soloist and answered by the orchestra. This pattern of ‘question/answer’ continues until a climactic moment breaks the tension, and is followed by a lyrical second subject announced by the soloist over undulating rhythmic patterns on strings. The music is developed and recapitulated from these ideas, with the lyrical idea returning via solo clarinet, with horn answering in canon. The movement ends with the strident fourths, this time in inversion. The slow movement is in tertiary form and opens with an expansive melody from the soloist over a repetitive harmonic and melodic pattern. This is expanded and developed, building all the while in intensity until it is interrupted by cadenza-like passages on the horn and muted brass. After a brief climax the music subsides into a moment of emotional serenity before the opening melody returns, this time on solo oboe with the horn interweaving its own answering melodic lines. The rondo finale is more light-hearted in mood with a catchy 6/8 tune at its heart. It is twice interrupted, first by an idea built on long held chromatic notes from the soloist against a highly rhythmic backdrop (wind, brass, and snare drum), then by a slower, more thoughtful melodic idea. However, the rondo tune eventually returns and the work ends in a mood of joyous celebration.