Purcell Society Volume 22 - Catches (Original Engraving)

Purcell Society Volume 22. Original Engraving.

Niels Viggo Bentzon: Symphony No. 8, Opus 113 (Score)

Composed in 1957. 2.2.2.2/4.3.3.1/timp.3perc/hp/str The scores can be rented: hire@ewh.dk

Pelle Gudmundsen-Holmgreen: Concerto Grosso (Score)

Solo Instrument(s: 2vn,va,vcOrchestration: 2.2.2(bcl).2(cbn)/4231/4perc/hp/2dbParts are for hire:hire@ewh.dk

Rued Langgaard: Symfoni nr. 1 "Klippepastoraler"

Symphony No.1 'Klippepastoraler'. Instrumentation: 3.3.3.3/8.3.4.1/2 timp/perc/2 hp/str (in 5th movement also: 3 trp, 3 trb + tuba off stage). BVN32

3 Fantastic Dances, Op. 22

Score and Parts. Grades 4-5

Klavierwerke - Händel, Georg Friedrich

Einzelne Suiten und Stücke. 1. Folge (Nr. 1-22) complete edition, Performance score, Anthology, Urtext edition piano/harpisc. Indbundet udgave

Nonetto Fl-Hb-Cl-Sax-Fg-Hp-Celesta-Pno-Batt.

Magnificat : Chamber Orch parts only - 1.1.0.0-1.1.0.0 + hp. + timp + 2 perc. + Str (13 players)

Italian Leather Shoulder Bag - Electric Guitar

Axelväska 'Electric Guitar' tillverkad av laserskuret pigmenterat läder och mocka. Lädret är valt från de finaste garverierna i Toscana. Väskan har en magnetisk stängning och en justerbar axelrem i läder. Tillverkad av hantverkare i Italien med endast det allra bästa italienska lädret, certifierat för sin äkthet. En riktigt vacker present till entusiasten. Storlek ca 32 x 22 x 6 cm.

Kantaten zum Sonntag Estomihi, Oculi und Palmarum : Kantaten BWV 22, 23, 54, 80a, 127, 150 und 182

Scriabin - Collected Works Vol. 8 : Pieces for piano, Op. 12 - 18, 21, 22, 25, 27, 28, 31 - 36

Scriabin - Collected Works Vol. 8 : Pieces for Piano, Op. 12 - 18, 21, 22, 25, 27, 28, 31 - 36

Italian Leather Shoulder Bag - Acoustic Guitar

Axelväska för akustisk gitarr tillverkad av laserskuret pigmenterat läder och mocka. Lädret är valt från de finaste garverierna i Toscana. Väskan har en magnetisk stängning och en justerbar axelrem i läder. Tillverkad av hantverkare i Italien med enbart italienskt läder av högsta kvalitet, certifierat för sin äkthet. En riktigt vacker present till en speciell person. Storlek ca 32 x 22 x 6 cm. Denna artikel kommer i påsar.

Transcriptions VII (II/22) : Grand septour de Beethoven, op. 20 - 6 Präludien und Fugen für Orgel von J. S. Bach

The Light in the Piazza : Choral Highlights

Adam Guettel's The Light in the Piazza has been described as “a shimmering pearl,” and with its soaring melodies and passionate, romantic lyrics, the Tony Award-winning musical richly deserves the accolades ithas received. This 11-minute medley features well-crafted vocal parts and the orchestration captures the magic of the original Broadway production. Ideal for high school and community choirs, it includes: The Beauty Is, TheLight in the Piazza, Passeggiata, Say It Somehow, Statues and Stories. Available separately: SATB, SAB, SSA, Chamber Orchestra score and parts (sc, fl, ob, eh, timp, perc, hp, str: 88442) and ShowTrax CD. Duration: ca. 11:30

Gavin Higgins: Dark Arteries Suite (Score & Parts)

Dark Arteries was commissioned by Rambert Dance Company and first performed in May 2015 with the Tredegar Town Band sharing the stage with Rambert dancers. Dark Arteries is a personal and at times highly wrought response to the Miners’ Strike and its aftermath. It is in three movements, the first and last are expansive, with widely contrasting sound worlds, from dark, brooding melodies and the haunting sounds of solo flugel horn to wild syncopations on cornets, suggestive of an imposing, but often bleak mining landscape. In 2016 Higgins re-worked Dark Arteries into a virtuoso concert suite, which captures the essence of the work in three connected movements. Dark Arteries Suite was premiered by the National Youth Brass Band of Great Britain, conducted by Bramwell Tovey at the Barbican Centre, London, 22 April 2017.

Beaton Wireless 1 trådløst system til guitar, bas mm.

Beaton Wireless 1 er et trådløst system til guitar, bas mm. som anvender digital trådløs teknologi til at levere fremragende lydkvalitet, enkel betjening og god pålidelighed til den aktive musiker. Med en frekvensrespons på 10Hz-22 kHz og latency ned til 5 millisekunder sender Wireless 1 dit signal uberørt og rent videre til din forstærker eller mixer, så du undgår uønsket farvning i din lyd. Wireless 1 opererer på 2,4 GHz ISM-båndet, som sikrer problemfri drift uden signaludfald ved afstande på op til 20 meter. Genopladelige Li-ion-batterier gør det trådløse Wireless 1 system miljøvenligt, og du får op til 10 timers drift pr. opladning. Chassiset er lavet af slidstærkt ABS-plastik, som kan modstå en hårdhændet behandling, og det passer til ethvert pedalboard, takket være dets enkle og kompakte design. Trådløst system til guitar, bas mm. Trådløs på den lette måde! Indeholder 1 stk. sender og 1 stk. modtager Letvægtsudstyr i et kompakt design Tolv valgbare kanaler i 4 banker Rækkevidde på op til 20 meter 2,4 Ghz drift Ingen forsinkelse Op til 10 timers drift på en opladning

Waltzes

Waltzes, a cycle of twelve virtuoso waltzes for violin, viola, cello, and double bass, was commissioned by the Spoleto Festival USA in Charleston, where the first nine waltzes were premiered in 1981. Soon thereafter I composed the final three waltzes. The violinist Rolf Schulte led the first performance of the complete work in New York City in 1983. Waltzes lasts about 22 minutes and is dedicated to the violist Scott Nickrenz, who directed the chamber music series at Spoleto. In arranging the commission, Mr. Nickrenz made three stipulations: make my modernist idiom accessible for summer-festival listening, provide a challenge for brilliant string players accustomed to 19th-centuryrepertory, and give the piece a loud ending. The idea of composing a set of waltzes came from the pleasureI took in playing waltzes by Schubert and Chopin at the piano. Waltzes incorporates occasional references to the music of past composers, but always in ways that fit within my own musical language. Its instrumentation for “low” string quartet is reminiscent of Schubert’s Vienna.

Aroldo

Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

Aroldo

Aroldo, number 22 of the 32 operas written by Verdi, is certainly not one of the best-known works from "the genius of Busseto." Written in 1857, it is in fact a remake of the 1848 opera Stiffelio, which told a story of adultery and which was censored for its "indecent" content. Verdi found the censorship of Stiffelio unacceptable, and with a performance in Verona approaching at the start of 1851, he wrote to his editor, Ricordi: "If my libretto is censored, it will not be possible to obtain the effect I desire, so I would rather wait until I can rewrite the last scene." But the modifications to Stiffelio did not stop there. The setting, the historical period andthe finale were also completely changed. In the process of converting Stiffelio to Aroldo, Verdi no doubt succeeded in strengthening certain moments. However, the fame of the three operas he had written in the meantime - Rigoletto, Il Trovatore and La Traviata - did not allow Aroldo to receive the recognition it deserved. The opera's symphony is indeed a superb work and contains moments of outstanding lyricism. The trumpet solo in the introduction is the longest written by Verdi for this instrument.

St. Paul Op.36

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul, Op.36 in 1836, at the age of twenty-seven. The first version, which was premiered on 22 May 1836, was then extensively revised bythe composer. This second version, which at the same time served as the basis for the published version, was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score, Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner, who later denigratedMendelssohn,was full of admiration. Today, St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio, edited by the internationally-recognisedMendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work, the score also includes for the first time numbers which were composed for the first version andsubsequently removed. This gives not only an insight into the history of the composition of the work, but also, with the complete performing material, into the performance of the original version.The full score and vocalscore (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition, representing the latest musicological researchIncludes allnumbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

Ross Roy

Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.

Dixit Dominus HWV 232

Handel wrote the famous Dixit Dominus with the text of Psalm 109 during his time in Italy in c. 1707. Although he was only 22 years old, the work already demonstrates his wide spectrum of compositional abilitieswhich are later fully realized in his operas and oratorios. Central to this work are the six choral movements, which with their polyphonic structure are closely related to German choral music of the 17thcentury.The first Urtext edition BA 4002 based on the Halle Handel Edition was published in 1960. At that time no critical commentary was published so that in cases of doubt, the basis on whicheditorialdecisions were made was not officially recorded. A new complete edition volume (BA 10704/01) , due to be published in 2013 will include a detailed foreword providing information on the genesis and the first performanceof this work as well as information on the psalm on which this work is based and on performance practice. In addition several facsimiles pages will be included, giving a view into the source material. The critical commentarywill provide a detailed insight into all the available sources and how they have been passed down.This newly revised Urtext performing edition offers a thorough revision of this frequently-performed work and meets allthe requisites of a scholarly-critical edition. Former readings in the old edition regarding a small number of pitches, but mostly basso continuo figures and the underlying text have now been able to be amended on the basis of thenew findings. In the new edition the work appears in nine movements no longer eight which reflects the composer's intentions.The new performance material is not compatible with the old one.Presentedin a revised Urtext editionClear, straightforward Piano reduction in the vocal scoreUrtext of the Halle Handel EditionFull score, performance material (BA10704) & Vocal score (BA10704-90) available forsale

Ross Roy

Jacob de Haan was commissioned to compose this concert piece by the "St. Peters Wind Symphony" from Brisbane, Australia. "Ross Roy" is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the "Ross Roy" as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of "Tempo di Marcia". Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of "passing through" the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the "overture" to the rest of one's life. The premiere of "Ross Roy" was conducted by Jacob de Haan in Brisbane, on August 22, 1997.

Robert Schumann: Complete Piano Works Study Score - 6 Volume Slipcase (Henle Urtext)

On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879?93, all of the works for Piano solo are appearing as one editorial project.Spanning almost ten years of painstaking work, all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection, comprising six volumes as well as study editions in a slipcase. They replace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers, it includes not only all of Schumann's Piano works, revised to reflect the latest scholarly findings, but also informative accompanying texts, alternative versions and much more besides.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänze op. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo, Gigue, Romance and Fughetta op. 32 Album for the Young op. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ["Ghost" Variations] E flat major Drei Fantasiestücke op. 111 Three Piano Sonatas for the Young op. 118 Album Leaves op. 124 Seven Piano Pieces in Fughetta Form op. 126 Gesänge der Frühe op. 133 "Einsame Blume" from Forest Scenes op. 82 Coloured Leaves (Bunte Blätter) op. 99