SKU: DB.01-00339

Ein geschmackvolles, schon gesetztes Werk von naturlichem musikalischem Flus. Wolters, Handbuch der Klavierliteratur.

SKU: DB.01-00100

ISBN 9790012174783.

Hilft den jungen Schulern beim Erarbeiten der musikalischen Grundelemente und des Notenlesens, Neugelerntes kann wiederholt und manches besser verstanden werden. In 44 Lektionen geht es u.a. um: Tasten erkennen / Finger finden / Notennamen / Notenwerte / etc.

SKU: HL.49002240

ISBN 9790220127816. UPC: 884088053925. 10.0x7.25x0.023 inches.

W. Byrd: La Volta * R. Farnaby: Fayne would I wedd * G. Farnaby: Giles Farnaby's Dreame * T. Morley: Alman. P. Rosseter: Yte What is a day? * W. Byrd: Pavan and Galliard The Earle of Salisbury * Anon.: Corranto * W. Byrd: Wolseys Wilde * Coranto * P. Rosseter: Yre And would you see my mistress' face * Dr. J. Bull: The Duke of Brunswick's Alman * The Duchesse of Brunswick's Toye.

SKU: DB.01-00516

Mr. Takacs blends sound and silence in subtle fashion to create marvelous atmosphere and color. Clavier Recht reizvolle Klangversuche mit Resonanzklangen, Artikulationskontrasten und Pedalwirkungen. - Wolters, Handbuch der Klavierliteratur.

SKU: AP.49633S

ISBN 9781470651824. UPC: 038081572727. English.

Another top 10 hit from top recording artist The Weeknd is presented here in a terrific arrangement from Brian Scott. With its strong melodic content and driving rhythms, Take My Breath is the perfect marching or pep band chart! (1:49).

SKU: AP.49638

ISBN 9781470651718. UPC: 038081572611. English.

Performed at the 2021 Superbowl and on the charts for over a year, everyone will recognize this number 1 hit from The Weeknd. With Save Your Tears, Doug Adams has created a great-sounding chart that any band can play! (1:52).

SKU: FJ.B1365S

English.

Take an imaginary flight on the ever-graceful winged-horse Pegasus! Using just six notes, this work manages to capture the grandeur of this mythical creature through the triumphant melodies that are passed around the ensemble. Harmonies are surprisingly rich for a work at this level and make the piece sound much harder than it really is. Fabulous!

In Greek mythology, Pegasus was the winged horse-god son of Poseidon and the Gorgon Medusa. During his life, he carried thunderbolts for the god Zeus and was ridden by Eos, the goddess of dawn. Today, the word pegasus has come to refer to any winged horse, and the symbol endures as one of endless fascination. The music is quite lively in nature, and portrays an imaginary flight of the ever-graceful equine of myth. The introduction takes us up-up-and-away in the form of a bright trumpet fanfare. The melody is then played by lower instruments, depicting peril during flight. The full ensemble then comes together, giving a picture of the winged wonder in all his glory leading to a thrilling finish.

Score only. Full set (score and parts) also available: B1365.

SKU: HL.49045273

ISBN 9783795780852. German. Author: Fritz Hennenberg.

Unvermindert wird uber Hanns Eisler diskutiert wie uber nur wenige andere Komponisten des 20. Jahrhunderts. Er war und ist sowohl als Musiker als auch als Gesellschaftsbeobachter und -kritiker im Gesprach. Aufgrund judischer Herkunft und kommunistischer Gesinnung verbrachte er die 1930er und 1940er Jahre im Exil, danach fanden vor allem seine neuen Kompositionen grossen Anklang. Bei einem seiner Befurworter handelte es sich um Bertolt Brecht, der besonders das Erscheinen seiner Lieder und Kantaten unterstutzte. Der renommierte Eisler-Experte Fritz Hennenberg legt hier eine durchgesehene und vollstandig aktualisierte Fassung seines Buchs vor, die sich nach wie vor durch eine angenehme und anschauliche Sprache bei hoher Qualitat auszeichnet.

SKU: PR.11641373S

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.