SKU: M7.VHR-3671
ISBN 9783864341489. German.
The series 'Unterwegs mit der Querflöte' (Out and About With the Flute) is for children from the age of 5 learning to play the flute in one-to-one lessons or in pairs. The main aim has been to keep the book as concise as possible and to leave out any information which doesn't directly concern the pupil. The key features: - Simple explanations - easy for children from the age of 5 to follow - Four icons show what to do - without any fancy words - Playing duets and from memory right from the start - for holistic music-making - Ample additional material - numerous pieces, piano accompaniments and exercises together with the complete teacher's book and a parent's supplement are available online free of charge at: www.holzschuh-verlag.de/unterwegs Volume 2 - Rund um die Welt (Around the World): focuses mainly on the important topic of overblowing and on essential basics in music. Not only do pupils continue to practise playing from memory but they also progress now to the matter of transposing. The pieces become longer and more complex but the explanations still remain concise. The volume ends with pupils internalising the G-major scale and the addition of f-sharp^2 in a range going from d' - g^2.
SKU: HL.14021553
ISBN 9780853604754. UPC: 884088956059. 9.0x12.0x0.077 inches.
Herbert Howells (1892-1983) was an English composer and teacher, who is perhaps best known for his choral music in the Anglican tradition, most famously his voluminous settings of the evening canticles.
Minuet was composed in 1945 for solo Bassoon with Piano accompaniment. It was written for the birthday of Hugh Crosthwaite, an English academic and amateur bassoonist who was studying at that time at Cambridge, where Howells was working as an acting Organist for the duration of the war. It is subtitled Grace for a Fresh Egg; i.e., a thanksgiving for what was a rarity in wartime Britain.
SKU: LO.30-3291L
UPC: 000308143461.
Let freedom ring wherever minds know what it means to be in chains. Mark Hayes's masterful arrangement of the Gaither's fervent choral prayer is equally effective with Mark's superb piano accompaniment or orchestration. Glorious harmonic color, an optional opening duet, and rich yet accessible vocals enhance the timeless theme.
SKU: LO.30-3290L
UPC: 000308143454.
SKU: PR.115402040
UPC: 680160591220. 9.5 x 13 inches. Key: G major.
Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.9971498
ISBN 9781617742866. UPC: 884088545369. 4.75x5 inches.
Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author & bi-lingual educator, Alejandro Jimenez. Connect with educational philosophies and cultural backgrounds of the Spanish Caribbean to understand how they influenced the music of that area. Learn how song, dance, rhythmic instruments and drama all come together to help build confidence and promote personal expression. Originally developed and used in urban, multi-cultural settings here in the United States, the works featured in Picante are for all general music classes. Students form their own Latin Music ensembles and explore the highly rhythmic beat of the plena from Puerto Rico, the regueton which is popular among urban Latino youth, the fast two-step beat of the merengue from the Dominican Republic, the bomba from Puerto Rican folk music, and the son from Cuban dance music. These different styles influenced what we now call Salsa music. The kid-friendly ensembles have been written for Grades 5-9 and are presented from easy to more difficult. A variety of short, easily-learned ostinato rhythm patterns are played on Latin percussion and Orff instruments and added one at a time, followed by the Spanish and English lyrics. These voice parts are also made up of short ostinato patterns that, when layered in, create easily-sung harmonies in an instant! You can perform all or some of the voice parts, so do what best fits your situation. A helpful teaching sequence, dance steps and objectives linked to the National Standards are provided for each song, and all ensemble parts are reproducible! The piano/vocal printed score represents the form of each song as recorded on the companion CD, and is only a suggested guide to follow. Encourage your students to be creative and make up their own song form! Available separately: Teacher Edition (with reproducible pages), Performance/Accompaniment CD, Classroom Kit (Teacher and P/A CD). Suggested for grades 5-9.
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.
SKU: PR.11641373L
UPC: 680160680337.
SKU: CA.240800
ISBN 9790007171391.
What would love be without music - or music without love! Many couples associate unforgettable beautiful hours, a first meeting, or first kiss with a particular song. And composers have always been inspired and stimulated by love, have celebrated romantic love and longing from afar, secret love, and jealousy. In her selection of 80 songs from seven centuries, Mirjam James evokes this tremendous feeling with the most beautiful songs ranging from medieval courtly songs, through Beethoven's Ich liebe dich, to the Beatles song And I love her. Many of the songs come from German and English language traditions, but what would such a book be without the fire of southern Europe or a dose of French charm, without the moving melodies of cool northern climes, or the melancholy songs of the Russian soul? This beautifully-produced song book is illustrated with the sumptuous paintings of Gustav Klimt, for whom love was one of the great themes of his life. The song book contains a CD with recordings of all the songs in instrumental versions so you can sing along with the pieces and get to know them. A piano book is published alongside the song book, containing all the songs in idiomatic, playable accompaniments. Whether it's for an engagement or a wedding, for Valentine's Day or an anniversary, Liebeslieder makes an ideal present for those newly in love or still in love, and who also love music.
SKU: BA.BA07567
ISBN 9790006544097. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.
Antonio Vivaldi’s twelve concertos op. 4 known by the name of “La Stravaganza†were first mentioned as a collection of “Concerti a 4†in the 1711 Foreword of “L’Estro Armonico†op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, “La Stravaganza†is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).The many reprints of “La Stravaganza†bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.This edition of “La Stravaganza†is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh & Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).
SKU: BA.BA07566
ISBN 9790006544066. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.
Antonio Vivaldiâ??s twelve concertos op. 4 known by the name of â??La Stravaganzaâ? were first mentioned as a collection of â??Concerti a 4â? in the 1711 Foreword of â??Lâ??Estro Armonicoâ? op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, â??La Stravaganzaâ? is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).The many reprints of â??La Stravaganzaâ? bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.This edition of â??La Stravaganzaâ? is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).
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