SKU: AP.36-M325991

UPC: 660355168611. English.

Erich Wolfgang Korngold (1897-1957) composed a song in 1915 titled Österreischischer Soldatenabschied (Austrian Soldier's Song of Farewell) for the Austrian War Relief Fund. This work inspired the set of four songs titled Lieder des Abschieds (Abschiedslieder; Songs of Farewell), Op. 14, each contemplating the unwilling separation of loved ones, which was written between 1920 and 1921 for alto and piano. These melancholy works are considered among Korngold's finest songs. Songs: 1. Sterbelied (Requiem); 2. Dies eine kann mein Sehnen nimmer fassen (The one thing my desire can never comprehend); 3. Mond so gehst du wieder auf (Moon once again you rise); 4. Gefasster Abschied (Calm Farewell) - this is based on the earlier Österreischischer Soldatenabschied. This version was first performed on November 5, 1921, in Vienna, the composer on the keyboard. Korngold also conducted the premiere of his orchestral version on January 14, 1923, also in Vienna.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: M7.SAE-1-09

ISBN 9790707665541.

This is a unique arrangement for violin and piano, a work that preserves the beauty of the original work, an icon for classical music repertoire, but at the same time different in essence due to the creative and innovative flavour that was introduced in orchestration on this occasion. The piece has been carefully adapted to suit the technical needs of each instrument, being a smart choice for the players that want to achieve the acclaim from the audience. This piece of music is suitable both for concerts given by professionals and for auditions in schools, colleges, conservatories or can be used in various other private events.

SKU: BT.SLB-00106100

English-French.

The famous Marthe Morhange Motchane method can still be considered an authority. However, it has become necessary to take into account the evolution of pedagogy. This new edition offers both teachers and students a more modern andattractive method without altering any of the qualities of the original.

Réédition du volume 1, abondamment illustrée et dans un découpage par leçon plus adapté aux jeunes enfants. Préface d' Alfred Cortot.Méthode d'initiation la pratique du piano, en deux volumes, destinée aux enfants. L'apprentissage a été détaillé en séquence de travail hebdomadaire afin de familiariser le jeune élève certaines habitudes de travail. Chaque jour, et ce dès les premières leçons, l'élève sera attentif l'adaptation de la main au clavier, la musicalité et l'augmentation de sa capacité de concentration. Le second volume consolide les acquis et introduit la gamme par tons, l'exploration systématique des intervalles, et donne un aperçu des lois del'harmonie.

SKU: BR.EB-8819

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

ISBN 9790004183847. 9 x 12 inches. German.

Trinidad & Tobago, Hungary, Argentina, the U.S., Japan, Spain Andreas Hirche takes us all over the world with his traveling piano. Whoever wants to come on board must have at least a basic knowledge of music theory and harmony, and, above all, should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations which chiefly orient themselves on ostinato forms.Technically, the palette ranges from short, simple pieces to lengthier, more demanding works that can be played with or without the improvised sections. Broadly speaking, the Piano World Music School truly has a style and a sound for everyone. Hirche has recorded all the pieces on CD with exemplary improvisations. The disc also offers play-alongs in mp3 format, which should help players achieve their first successes with pieces of their own design, and in no time at all.

Traveling all over the world. Whoever wants to join needs a basic knowledge of music theory and harmony, and should love experimenting; after all, each of the 15 pieces contains instructions for stylistically authentic, imaginative improvisations.

SKU: HL.48183000

UPC: 888680877217. 9.0x12.0x0.032 inches.

“Initially composed in 1907 for Bass Voice and Piano, Habanera by Maurice Ravel was transcribed for Flute and Piano for this edition. Based on a Cuban Contradanza, it features a special habanera rhythm and is generally performed with sung lyrics. In this edition, the Flute is a substitute for the voice. While composing this piece, Maurice Ravel</I> was also working on two works also with Spanish influence: 'The Spanish Rhapsody' and 'The Spanish Hour'. This edition, which can be used for recitals and exams, will enlighten Flute players. Maurice Ravel (1875-1937) is a French composer famous for his Impressionist contributions. He wrote numerous pieces, including 'Daphnis and Chloé' and the famous 'Bollero'.”.

SKU: M7.SAE-31-06

ISBN 9790707665848.

This is a unique arrangement for viola and piano, a work that preserves the beauty of the original work, an icon for classical music repertoire, but at the same time different in essence due to the creative and innovative flavour that was introduced in orchestration on this occasion. The piece has been carefully adapted to suit the technical needs of each instrument, being a smart choice for the players that want to achieve the acclaim from the audience. This piece of music is suitable both for concerts given by professionals and for auditions in schools, colleges, conservatories or can be used in various other private events.

SKU: JK.01452

Luke 2.

Christmas opener for mixed chorus (SATB) and piano, with original words and music--offering courage and light because the Savior was born: No sin nor death, no toil nor pain can burden the heart where Jesus doth reign. Highest soprano note: E (with an F on the final note).
Composer: Melanie Hoffman
Arranger: Roger Hoffman
Lyricist: Melanie Hoffman
Difficulty: Medium to medium-difficult
Performance time: 3:05
Reference: Luke 2.

SKU: HL.14044794

ISBN 9788850729135. French.

For each song you will hear the full version, featuring the Pianist accompanied by an Orchestra, as well as a playback version for you to play along to. There are three different versions for each piece: 1)Keyboard/Organ 2)Piano (medium difficulty) 3)Piano (simple for beginners) The pieces in Tubes Du Jazz Claviers are great for playing as part of a group. The included harmonic grids will help Bass and Keyboard players to get their bearings, and all of the featured pieces can be sung. Lyrics are included at the back of this book.

SKU: BT.YE0009

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino â?¦ di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.