Glassworks was originally written as a commission for CBS Records in 1981. Philip Glass' music is frequently described as minimalist, though he prefers the term theatre music. He is considered one of the most influential composers of the 20th century. Glassworks is presented here in full score for piano, electric organ, bass synthesizer, piccolo, soprano saxophone, clarinet, bass clarinet, tenor saxophone, french horn, viola, and cello.
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HPS 609
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A contemporary reflection on 16th century French wind music, this Consort starts with a lively dance movement, then continues to a heartfelt Aubade and a capricious Sautureau. Scored for pairs of flutes, oboes, clarinets, horns and bassoons. (duration – 10:40)
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“Send my septet out into the world a little faster – because the rabble is awaiting it”. It was thus that Beethoven bade his publisher make haste in 1802. The public did not take offence at this rather derogatory term: Today the Septet op. 20 for Wind and Strings is one of the most popular chamber music works for a larger ensemble, together with Schubert's Octet. Our edition follows the musical text which will soon appear in the Beethoven Complete Edition. As the only practical edition available at the current time, our Urtext edition not only contains the original part for horn in E flat but also a transposed one for horn in F. For Clarinet, Horn, Bassoon, Violin, Viola, Cello, and Double Bass.
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In June 1905, Ravel told a friend shortly before setting off on a long holiday: “I was terribly busy because of a piece for harp commissioned by the Érard company. I was able to finish it after a fashion, thanks to 8 days of dogged work and three sleepless nights.” But the piece itself shows nothing of the haste in which it was written. In fact, it seems as if Ravel knew how to explore all the musical possibilities of the harp in this brief, but highly striking piece. This septet with its unusual combination of instruments is a further enrichment of Henle's Urtext editions of Ravel's chamber music.
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“Send my septet out into the world a little faster – because the rabble is awaiting it”. It was thus that Beethoven bade his publisher make haste in 1802. The public did not take offence at this rather derogatory term: Today the Septet op. 20 for Wind and Strings is one of the most popular chamber music works for a larger ensemble, together with Schubert's Octet. Our edition follows the musical text which will soon appear in the Beethoven Complete Edition. For Clarinet, Horn, Bassoon, Violin, Viola, Cello, and Double Bass.
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The model for this composition was Beethoven's Septet op. 20, whose Divertimento character and six-part layout were adopted by Schubert, although he merely expanded the instrumentation by adding a second violin. In a letter he numbered his octet amongst the chamber music works with which he desired to blaze a “path to the great symphony.” It can no longer be ascertained whether the composition was commissioned by Count Ferdinand Troyer, who had a musical salon in Vienna and played the clarinet. We only know that Schubert composed the work at the beginning of 1824, taking only a few weeks to do so and that it was shortly performed at Troyer's afterwards. Today it is one of the most popular larger chamber music works.
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This work for solo horn and eight instruments is written by the master composer Vaclav Nelhybel (1919-1996). Instrumentation: Horn Solo, Flute, Oboe, Clarinet, Bassoon, String Quartet
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The Dylan Thomas poem “Do Not Go Gentle into That Good Night” was the motivation for this musical composition. While not a programmatic depiction of the poem, the work attempts to recreate the essence of the poem in sound. The opening motive, representative of the life force, permeates much of the work. The use of sound layers – in the form of polytonal hymns – calls to mind the struggles and persistence of the human spirit and its refusal to “go gentle.” A substantial and dramatic work for mature ensembles. Dur: 11:15 (Grade 5)
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This uniquely flexible collection works great for solos, duets, trios, quartets, quintets, sextets and more! Each arrangement can be performed unaccompanied, or accompanied using the fully orchestrated StudioTrax CD or piano accompaniment book. Mix and match instrumentation according to your needs in any given situation, all year long in a variety of settings: worship services, Sunday School or at home. Stan Pethel's signature style of accessible, fresh arrangements shines through in each hymn making Winds of Worship an essential addition to your library for the advanced or beginning player alike.
Contents: Immortal, Invisible • Take My Life and Let It Be • Joyful, Joyful, We Adore Thee • Near to the Heart of God • Praise the Lord Who Reigns Above • Love Lifted Me • Like a River Glorious • I Will Sing of the Mercies • Savior, Like a Shepherd Lead Us • Higher Ground • My Jesus, I Love Thee • and He's Got the Whole World in His Hands.
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This scintillating music was composed by Nikolai Rimsky-Korsakov (1844-1908). Procession of Nobles is an excerpt from his unsuccessful ballet Mlada, composed in 1892. This stately processional march is the only surviving excerpt from the ballet still remaining in the standard orchestral repertoire.
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for percussion quartet, trumpet/flugle horn and piano/Rhodes
Performance Score
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Although Mozart's penultimate piano concerto was completed on 24 February 1788, it was not premiered until 1789 in Dresden. A further performance in autumn 1790, as part of the celebrations in honour of Leopold II's coronation as Emperor, led to the concerto's now popular nickname.
In comparison to the series of large piano concertos from 1784–86, K. 537, with its numerous rapid scale passages and embellishments, looks more conventional at first glance, although it is precisely this more flexible structure that points ahead to forms of the early romantic period. In any case, it today numbers among Mozart's most frequently played concertos.
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An abundant collection of grade 1-2 ensembles that can be played by any combination of 3 or more flutes, clarinets, oboes, saxophones, trumpets or violins. Includes traditional songs and rounds, as well as beginning level arrangements of songs by Bach, Schubert, Stephen Foster, Lehar, Weber, Mendelssohn and many more.
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Chopin's works for piano and strings were usually made for a specific occasion, and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello, the last work by the composer intended for publication, a work reflecting his current style, highly reflective, the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by I. J. Paderewski, L. Bronarski, and J. Turczynski.
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Mozart's famous concert aria Ch'io mi scordi di te? (KV 505) for soprano, piano and orchestra was ingeniously arranged by Say for a chamber music ensemble. This allows for further performance opportunities, even on a smaller scale.
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It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture, demand declined for buoyant serenades and divertimenti intended for court circles – a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind, his Sextet op. 81b is thus all the more remarkable, standing out on account of the unusual virtuosity of the horn parts. This Henle edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat, it also contains transposed parts in F.
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It is hardly surprising that Beethoven did not write any more chamber music for winds after 1800. Following the change to middle-class musical culture, demand declined for buoyant serenades and divertimenti intended for court circles – a genre that Beethoven had reservations about as it was. Composed in 1795 with no known occasion in mind, his Sextet op. 81b is thus all the more remarkable, standing out on account of the unusual virtuosity of the horn parts. Our edition is the first to provide the bass part as originally intended by Beethoven: for violoncello supported by a double bass. In addition to the original horn parts in E flat, it also contains transposed parts in F.
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Duration: ca. 15 minutes.
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Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements Stabat Mater has a duration of 53 minutes. Following the première London's Financial Times commented that the composer “speaks of a 'painful world of loss, violence, and spiritual desolation' [...]. Both sides of MacMillan are to be found here,the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble.”
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In 1941, Harry Partch composed the first version of Barstow, the original lineup consisted of vocal and Adapted Guitar. In the following years, Partsch revised the piece several times, until 1968, the final version was available. He had collected the texts in1940 by writing down labels on street railings in Barstow, California.
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When Dvorák wrote his Serenade for 10 winds and 2 lower strings in January 1878, the heyday of the great wind serenades and “Harmoniemusik” wind ensembles was already long gone. He was probably inspired by hearing Mozarts Gran Partita shortly beforehand in Vienna. The home key of d minor here is striking, as is the often serious, even tragic atmosphere that repeatedly darkens the otherwise cheerful mood that is typical of the serenade genre. Perhaps this was a reaction to the death of two of his children just a few months earlier. Despite the works dramatic character - or perhaps because of it - Dvorák's Serenade was taken up in many European cities soon after its first performance in Prague, and fêted as a significant contribution to the chamber music repertoire for wind instruments. The autograph sources in Prague have been consulted for this Urtext edition. The parts are printed with player-friendly page divisions, perfect page-turning opportunities, and practical alternative parts in F for the three horns.
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