Bøger i Edition Peters serien

O Salutaris Hostia is one of Eriks Esenvalds' most popular pieces. Originally written for female voices, the composer later created a version for full choir on which this arrangement is based. It has a gentle meditation with the two soloists drifting across the soft band accompaniment, alternately echoing and imitating each other or joining together in thirds. The effect is quietly ecstatic, a brief moment of adoration and wonderment. This arrangement can be played with either two cornets or two euphoniums as soloists as the accompaniment works just as effectively with either.Brings contemporary choral repertoire by a leading international composer to the band worldArrangement of Eriks Esenvalds' highly successful choral piece 'O Salutaris Hostia'Arranged by brass band specialist Phillip LittlemorePart of EP Brass Band SeriesMeditative, beautiful piece, highly attractive for audiences, and proven success as a choral workSuitable for intermediate band at 2nd Section and aboveOrchestration: 1 1st Bb Soloist, 1 2nd Bb Soloist, 1 Eb Soprano Cornet, 1 Bb Solo Cornet (marked tacet), 1 Bb Repiano Cornet, 2 2nd Bb Cornet, 2 3rd Bb Cornet, 1 Bb Flugel Horn, 1 Solo Eb Horn, 1 1st Eb Horn, 1 2nd Eb Horn, 1 1st Bb Baritone, 1 2nd Bb Baritone, 1 1st Bb Trombone, 1 2nd Bb Trombone, 1 Bass Trombone, 1 Bb Euphonium (marked tacet), 2 Eb Basses, 2 Bb Basses, Timpani, 1 Percussion (suspended cymbal)

Shawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo. (My investment in you is paid off. Because of your hard work, your future is bright) Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.Orchestration: 1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treble clef)

Shawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song: Ekine leleyea do obhimen la doeki nalo. (My investment in you is paid off. Because of your hard work, your future is bright) Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.Orchestration: 1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treble clef)

A diptych by poet Mary Jo Salter, the text of Fred Hersch's Two Haiku compares the fleeting span of a life to the turning of the seasons. In addition to painting the words of these brief stanzas with rich chromatic harmonies, Hersch's six-minute score calls upon the singers to illustrate the themes of the haiku with the sounds of whistled birdsong and unvoiced breaths.Dedicated to the memory of musician and educator Steve Zegree, this eight-part choral setting was commissioned for vocal octet Roomful of Teeth by Ryan McNaughton and premiered at the 2017 Ecstatic Music Festival.Composed for Roomful of TeethText by Mary Jo SalterUses whistling and audible breathingChallenging 8-part mixed choral pieceDriven by rich chromatic harmonies

This edition, based on the one in The Art of French Song", presents Faure's arguably most famous song, prepared by the French music expert Roger Nichols, in an extremely practical publication: in three alternative keys for high, medium and low voices -- C minor (the original key), D minor and Bb minor. As documented in the preface, recordings made by singers who worked with Faure define a more ardent, urgent tempo and mood than we may be used to from later performances."

. . . a definitive edition that will be invaluable for all serious pianists and Ravel enthusiasts"The Musical TimesIn preparing this Urtext edition of Ravel's piano music, Roger Nichols consulted no fewer than 14 sources - including sound recordings by Ravel himself and other pianists with whom the composer worked.As a result he is uniquely qualified to evaluate the complexity of the sources and, with this edition, has provided today's pianists with the tools to make their own well-informed performance choices about this infinitely-rewarding repertoire."

Schumann's Cello Concerto RediscoveredIn her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann's original version of his Cello Concerto in A minor Op. 129 - a piece he actually called a 'Concertstück' - removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer's manuscript held in the Biblioteka Jagiellonska in Kraków. It is presented in a beautifully printed edition for cello with Schumann's original piano reduction. Matching orchestral material is also available from the publisher.Only modern Urtext edition based on Schumann's original 1850 manuscriptMany new corrections and clarifications, especially to the cello partScholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music LondonCello Part contains Josephine Knight's fingering and bowing suggestionsCritical CommentaryMatching orchestral material available separately from Edition PetersRecording of the Concertstück featuring Josephine Knight available from DuttonRobert Schumann's tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann's original conception of the work - not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann's health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists.Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann's original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann's original conception of the work as a Concertstück and restores Schumann's musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann's original piano reduction. Matching orchestral material is also available from the publisher.'My ultimate wish, ' says the editor, 'is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character - one that is lighter and happier, even cheerful", as Schumann himself described the work.'"

Originally composed in 2011, this work includes the main theme, followed by 14 variations.The work includes Hamelin's own idiosyncratic annotations, including witty footnotes and an intentional misnumbering" of Variation 13."

A cornerstone of the String Quartet library this edition presents the performing parts for Beethoven's String Quartets Op.59 Nos.1-3 (Rasoumovsky); Op.74; Op.95

Perhaps the greatest of all works for the solo Cello. Bach's 6 Cello Suites BWV 1007-1012 edited by Hugo Becker.

For all its apparent simplicity John Cage's seminal 4'33' ('Four, Thirty-Three') continues to stimulate, provoke, enrage and delight audiences nearly 70 years after it was composed. The premiere of the three-movement 4'33' was given by David Tudor on August 29, 1952, at Woodstock, New York as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. The piece had passed without a note being played--in fact without Tudor (or anyone else) having made any deliberate sound as part of the piece. Tudor timed the three movements with a stopwatch while turning the pages of the score. They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began patterning the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out." John Cage speaking about the premiere of 4'33" Several versions of the score for 4'33" exist, including: The Kremen manuscript (1953): graphic, space-time notation, dedicated to Irwin Kremen The movements of the piece are rendered as space between long vertical lines; a tempo indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds EP No. 6777a. The so-called First Tacet Edition: a typewritten score, lists the three movements using Roman numbers, with the word "TACET" underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time." This present edition is the so-called Second Tacet Edition: this is the same as the First Tacet Edition, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. "

Words and music are inextricably linked for Ned Rorem. Time Magazine has called him the world's best composer of art songs." A winner of the Pulitzer Prize for Music this volume presents a collection of 14 songs on different American poets for voice and piano. Contents: As Adam Early in the Morning (Walt Whitman)Early in the Morning (Robert Hillyer)I am Rose (Gertrude Stein)Memory (Theodore Roethke)My Papa's Waltz (Theodore Roethke)Night Crow (Theodore Roethke)O You Whom I Often and Silently Come (Walt Whitman)Root Cellar (Theodore Roethke)Sally's Smile (Paul Goodman)See How They Love Me (Howard Moss)Snake (Theodore Roethke)Such Beauty As Hurts to Behold (Paul Goodman)The Waking (Theodore Roethke)Youth, Day, Old Age, and Night (Walt Whitman)"

Magnificat in C major for double chorus (SSAATTBB) and continuo, edited by Hans T. David. Vocal Score.

Premiered in 1875, one month before the first performance of Georges Bizet's opera 'Carmen', Édouard Lalo's violin concerto in all but name 'Symphonie espagnole' reflected the current enthusiasm for all things Spanish. It has become one of the most popular of all works for violin and orchestra. This classic edition presents the work arranged for piano and violin with the solo part edited by Yehudi Menuhin. Contains a piano score and separate violin part.

Volume 1 of the classic Edition Peters series of Mozart String Quartets contains the instrumental parts for two famous groups of quartets: the 6 quartets Mozart dedicated to his friend Haydn and the 3 'Prussian' Quartets, as well as the 'Hoffmeister' Quartet.

This new Urtext edition, prepared by Klaus Burmeister, of one of the most famous of piano concertos, is based on the first two printed editions (as no autograph score of the solo part survives). It includes a historical preface and a critical commentary.

Alexander Scriabin composed sets of Études throughout his life in all periods of his compositional development. The Op. 8 set was completed in 1894 and an insight into their emotional content can be found in a poem Scriabin wrote alongside the set: Whoever you may be, you who laughed at me, who plunged me into dark depths . . . I am alive. I love life. I love people. I love them all the more because through you they have suffered. ... This edition of the Études has been prepared by Günter Philipp. It contains an authoratitive text of the notation, preface in German and English, and a critical commentary.

Hans-Joachim Schultze's classic edition of the D Minor Harpsichord Concerto BWV 1052. Edition for 2 keyboards, containing original solo part and secondo keyboard reduction of the orchestral accompaniment (2 copies required for performance).