|
| Mozart W.a. - Piano
Sonata C Major K. 309
(284b)
G. Henle
Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Mart...(+)
Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda
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| The Library Of Baroque
Music
Piano solo [Sheet music] - Intermediate/advanced
Amsco Wise Publications
The Library Of Baroque Music is an enormously expansive collection of the greate...(+)
The Library Of Baroque Music is an enormously expansive collection of the greatest works produced during that prolific period that flourished between the Renaissance and Classical eras. All arranged for solo Piano, this volume features works drawn from all the major Baroque composers, including some of the greatest pieces of music ever composed. The progression and development of music during the Baroque period can be heard in these pieces, providing you not only with a window into musical history, but also many exciting additions to your repertoire. The retrospective 'Baroque' label was applied to a diverse range of European compositions-often combining a spirit of experimentation with elaborate new musical structures. Dominated primarily by the Harpsichord and Organ, this period also saw the rise and development of larger-scale forms such as the concerto and oratorio. This superb volume is comprised of Keyboard and ensemble works from all the major Baroque composers, arranged for Piano. Featuring Arne, Boyce, Buxtehude, Corelli, Couperin, Gibbons, Lully, Pachelbel, Purcell, Rameau and Vivaldi, the composers here include some of the most respected and revered figures in musical history. The Library Of Baroque Music spans compositions of many of these masters, ranging from Frescobaldi in the early 1600s to Pergolesi a century later, and the famous three - J.S. Bach, Handel and Domenico Scarlatti.Baroque music, so called for its ornateness, was characterised by a bold exploration of counterpoint and new harmonic possibilities. This was variously expressed through the work of perhaps fifty or so major European composers. By the time Baroque began to segue into a new Classical period around 1750 it had already irrevocably changed and expanded the possibilities of music. The works that precipitated this change are available to play in this single volume, perfect for pianists looking to expand their repertoire with both challenging and exciting music.In this thoroughly enjoyable Library Of Baroque Music, the triumphant progression of this period is illustrated in the best possible way - through the compositions themselves, forming the definitive Baroque collection for solo pianists. / Piano
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| String Quartet - Youthful
Work (BACEWICZ GRAZYNA)
String Quartet: 2 violins, viola,
cello
PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her mai...(+)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms.
One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work.
The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo.
The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
(Seller in french langage)
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| Pachelbel J. - Organ
Works
Organ
Dover Publications
PRELUDES 1. Prelude in D Minor 2. Prelude in E-flat Major 3. Prelude in G Major ...(+)
PRELUDES 1. Prelude in D Minor 2. Prelude in E-flat Major 3. Prelude in G Major 4. Prelude in G Minor 5. Prelude in A Major 6. Prelude in A Minor 7. Prelude in D Minor TOCCATAS 1. Toccata in C Major 2. Toccata in D Minor 3. Toccata in D Major 4. Toccata in C Major 5. Toccata in C Major 6. Toccata in D Minor 7. Toccata in F Major 8. Toccata in G Minor 9. Toccata in C Major 10. Toccata in C Minor 11. Toccata in G Minor 12. Toccata in E Minor 13. Toccata in F Major 14. Toccata in G Minor 15. Toccata in G Minor FANTASIAS and RICERCARES Fantasia in E-flat Major Fantasia in G Minor Ricercare in F-sharp Minor Ricercare in C Major Ricercare in C Minor PRELUDE and FUGUE / TOCCATA and FUGUE / FUGUES Prelude and Fugue in E Minor Toccata and Fugue in B-flat Major 1. Fugue in C Major 2. Fugue in C Major 3. Fugue in C Major 4. Fugue in C Major 5. Fugue in C Major 6. Fugue in C Major 7. Fugue in C Major 8. Fugue in C Major 9. Fugue in C Major 10. Fugue in C Minor 11. Fugue in D Major 12. Fugue in F Major 13. Fugue in G Major 14. Fugue in C Major 15. Fugue in G Minor 16. Fugue in A Minor 17. Fugue in A Minor 18. Fugue in D Minor 19. Fugue in G Major CHORALE SETTINGS 1. Ach Gott vom Himmel, sieh darein (1st setting) 2. Ach Gott vom Himmel, sieh darein (2nd setting) 3. Ach Herr, mich armen Sünder (1st setting) 4. Ach Herr, mich armen Sünder (2nd setting) [Ach lieben Christen, seid getrost] 5. Ac wie elend ist unsre Zeit 6. Allein Gott in der Höh' sei Ehr' (1st setting) 7. Allein Gott in der Höh' sei Ehr' (2nd setting) 8. Allein zu dir, Herr Jesu Christ 9. An Wasserflüssen Babylon (1st setting) 10. An Wasserflüssen Babylon (2nd setting) 11. Auf meinen lieben Gott [Aus tiefer Not schrei' ich zu dir] 12. Christe, der du bist Tag and Licht 13. Christ lag in Todesbanden 14. Christ unser Herr zum Jordan kam 15. Da Jesus an dem Kreuze stund 16. Der Herr ist mein getreuer Hirt (1st setting) 17. Der Herr ist mein getreuer Hirt (2nd setting) 18. Der Tag, der ist so freudenr 19. Dies sind die heil'gen zehn Gebot' 20. Durch Adams Fall ist ganz verderbt (1st setting) 21. Durch Adams Fall ist gan verderbt (2nd setting) 22. Durch Adams Fall its ganz verderbt (3rd setting) [Ein Christ soll nicht der Meinung sein] 23. Ein' feste Burg ist unser Gott 24. Erbarm dich mein, o Herre Gott 25. Erhalt uns, Herr, bei deinem Wort [Es ist gewisslich an der Zeit] 26. Es spricht der Unweisen Mund whol (1st setting) 27. Es spricht der Unweisen Mudn whol (2nd setting) 28. Es woll' uns Gott genädig sein (1st setting) 29. Es woll' uns Gott genädig sein (2nd setting) 30. Gelobet seist du, Jesu Christ 31. Gott der Vater whon' uns bei 32. Gott hat das Evangelium 33. Gott Vater, der du deine Sonn' 34. Herr Christ, der ein'ge Gottessohn 35. Herr Gott, dich loben alle wir [Herr Jesu Christ, ich weiss gar wohl] [Herr Jersu, Gnadensonne] 36. Ich hab' mein' Sach' Gott heimgestellt 37. Ich ruf' zu dir, Herr Jesu Christ (1st setting) 38. Ich ruf zu dir, Herr Jesu Christ (2nd setting) [Ich weiss ein Blümlein] 39. In dich hab' ich gehoffet, Herr 40. Jesus Christus unser Heiland, der den Tod (1st setting) 41. Jesus Christus unser Heiland, der den Tod (2nd setting) 42. Jesus Christus unser Heiland, der von uns Bicinium (Two-Part Setting) 43. Komm Gott Schöpfer, heiliger Geist 44. Komm heiliger Geist, Herre Gott 45. Komm her zu mir, spricht Gottes Sohn 46. Lob sei Gott in des Himmels Thron 47. Mag ich Unglück nicht widerstahn 48. Meine Seele erhebt den Herren (Magnificat peregrini toni) 49. Nun freut euch, lieben Christen g'mein 50. Nun komm der Heiden Heiland 51. Nun lasst uns Gott dem Herren 52. Nun lob mein' Seel' den Herren 53. O Lamm Gottes unschuldig 54. O Mensch, bewein' dein' Sünde gross 55. Vater unser im Himmelreich (1st setting) 56. Vater unser im Himmelreich (2nd setting) 57. Vom Himmel hoch, da komm' ich her (1st setting) 58. Vom Himmel hoch, da komm' ich her (2nd setting) [Wach auf, mein Herz, und singe] 59. Warum betrübst du dich, mein Herz (1st setting) 60. Warum betrübst du dich, mein Herz (2nd setting) 61. Was mein Gott will, das gescheh' allzeit (1st setting) 62. Was mein Gott will, das gescheh' allzeit (2nd setting) 63. Wenn mein Stündlein vorhanden ist 64. Wennn wir in höchsten Nöten sein 65. Wie schön leuchtet der Morgenstern 66. Wir glauben all' an einen Gott 67. Wo Gott der Herr nicht bei uns hält (1st setting) 68. Wo Gott der Herr nicht bei uns hält (2nd set 69. Wo Gott der Herr nicht bei uns hält (3rd setting) 70. Wo Gott zum Haus nicht giebt sein' Gunst (1st setting) 71. Wo Gott zum Haus nicht giebt sein' Gunst (2nd setting) 72. Treuer Gott, ich muss dir klagen (Variations 1-4)
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| 10 Fugues For String
Quartet - Book 2 (BACH
JOHANN-SEBASTIAN)
String Quartet: 2 violins, viola,
cello [Score and Parts]
Spartan Press
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for the...(+)
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
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| 10 Fugues (BACH
JOHANN-SEBASTIAN)
String Quartet: 2 violins, viola,
cello [Score and Parts]
Spartan Press
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arran...(+)
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| The Piano Bench Of
Classical Music
Piano solo - Easy
Music Sales
The Piano Bench Of Classical Music is designed to be the cornerstone of your per...(+)
The Piano Bench Of Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's greatest inventions, movements, nocturnes, valses, mazurkas, intermezzos, romantic short pieces, impressionist works, and light classics - as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas and ballets by the master composers of the past four centuries. / Piano
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| E-Z Play Today 28 Fifty
Classical Themes
Melody line, (Lyrics) and Chords [Sheet music] - Easy
Hal Leonard
50 familiar pieces, including: Beethoven Symphony No. 6 (5th Movement) - Eine Kl...(+)
50 familiar pieces, including: Beethoven Symphony No. 6 (5th Movement) - Eine Kleine Nachtmusik (4th Movement) - The Great Gate of Kiev (From 'Pictures at an Exhibition') - Largo (From 'Xerxes') - Meditation (From 'Thais') - Mendelssohn Violin Concerto (1st Movement) - Mozart Piano Sonata in A (3rd Movement) - Song of India (From 'Sadko') - Tchaikovsky Violin Concerto (1st Movement) - 'William Tell' Overture (Closing Theme). / Chant Et Guitare / 128 pages / Partition
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| A Little Night Music
Piano Quintet: piano, violin, viola,
cello, double bass - Easy
Schott
Petite musique de nuit de Mozart est une des pièces plus populaires dans la lit...(+)
Petite musique de nuit de Mozart est une des pièces plus populaires dans la littérature de l'orchestre classique. Le répertoire de concert classique contient une foule de travaux, y compris de nombreuses autres pièces merveilleuses. Beaucoup de joueurs de piano ont envie de jouer ces oeuvres au piano et à mieux les connaître. L'anthologie présente contient 60 chefs-d'oeuvre bien connues de la musique classique dans les arrangements pour piano qui sont faciles à jouer, tout en demeurant comme proche de l'original que possible. Toujours apprécié par le public, ces ' record favoris ' rendent chefs-d'oeuvre classique accessible aux joueurs de piano. C'est un ' treasure trove ' pour les leçons de musique et passe-temps jouer. / Piano
(Seller in french langage)
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| Anatomy Of A Guitar
Player (TEDESCO TOMMY)
Guitar
Mel Bay
Par TEDESCO TOMMY. This book was written by one of America's greatest studio gui...(+)
Par TEDESCO TOMMY. This book was written by one of America's greatest studio guitarists, the late Tommy Tedesco. It details his approach to mastering the guitar and his reflections on his remarkable career playing for motion picture and television soundtracks. He includes solos, magazine articles he authored, his reflections on technical aspects of the guitar such as sight reading, and even several guitar scores from motion pictures. A wealth of knowledge and experience in the music industry is contained in this book. It is a valuable addition to the library of any guitarist. / Pédagogie / Etude / Guitare
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| Bach J.s. -
Miscellaneous Keyboard
Works : Toccatas, Fugues
And Other Pieces
Dover Publications
Wide selection of fine pieces, many difficult to find elsewhere. Included are ha...(+)
Wide selection of fine pieces, many difficult to find elsewhere. Included are harpsichord toccatas, Capriccio on the Departure of His Most Beloved Brother, Aria Variata 'alla Maniera Italiana' and the 6 Little Preludes, as well as many lesser-known compositions — over 40 in all.Content :Toccata in F-sharp Minor, BWV 910Toccata in C Minor, BWV 911Toccata in D Major, BWV 912Toccata in D Minor, BWV 913Toccata in E Minor, BWV 914Toccata in G Minor, BWV 915Toccata in G Major, BWV 916Prelude and Fugue in A Minor, BWV 895Fugue n A Major, from Prelude and Fugue, BWV 896Fugue in A Minor, BWV 897 (doubtful)Prelude and Fughetta in D Minor, BWV 899 (doubtful)Prelude and Fughetta in E Minor, BWV 900Fantasia and Fugue in D Minor, BWV 905 (doubtful)Fantasia and Fughetta in B-flat Major, BWV 907 (doubtful)Fantasia and Fughetta in D Major, BWV 908 (doubtful)Concerto and Fugue in C Minor, BWV 909 (doubtful)Fantasia in G Minor, BWV 920 (doubtful)Fantasisa in C Minor, BWV Anh. 86 (incomplete)Prelude (Fantasia) in C Minor, BWV 921 (doubtful)Prelude in B Minor, BWV 923 (doubtful)Seven Little Preludes, BWV 924-930 (from the Clarvier-B?ein vor Wilhelm Friedemann Bach)Six Little Preludes, BWV 933-938Five Preludes, BWV 939-943Fugue in A Minor, BWV 944Fugue in A Major, BWV 949 (doubtful)Fugue in B Minor on a Theme by Albinoni, BWV 951Fugue in C Major, BWV 952 (doubtful)Fugue in C Major, BWV 953 (from the Clavier-B?lein vor Wilhelm Friedemann Bach)Fugue in B-flat Major, BWV 954 (arr. from J. A. Reincken's Hortus musicus)Fugue in B-flat Major, BWV 955 (arr.of an organ fugue by J. C. Erselius)Fugue in E Minor, BWV 956 (doubtful)Fugue in G Major, BWV 957 (doubtful)Fugue in A Minor, BWV 958Fugue in A Minor, BWV 959Fughetta in C Minor, BWV 961 (doubtful)Prelude, Fugue and Allegro in E-flat Major, BWV 998 (for lute or keyboard)Suite in A Minor, BWV 818Suite in E-flat Major, BWV 819Ouverture in F Major, BWV 820Suite in B-flat Major, BWV 821Suite in F Minor, BWV 823 (incomplete)Partie in A Major, BWV 832Partita in C Minor, BWV 997 (for lute or keyboard)Partita in E Major, BWV 1006a (for lute or keyboard; arr. Of Violin Partita No. 3, BWV 1006)Sonata in D Major, BWV 963Sonata in D Minor, BWV 964 (arr. Of Violin Sonata No. 2, BWV 1003; doubtful)Sonata in A Minor, BWV 965 (arr. from Reincken's Hortus musicus)Sonata in C Major, BWV 966 (arr. from Violin Reinchken's Hortus musicus)Adagio in G Major, BWV 968 (arr. from Violin Sonata No. 3, BWV 1005; doubtful)Three Minuets, BWV 841-843 (from the Clavier-B?ein vor Wilhelm Friedemann Bach)Aria variata alla maniera italiana [Air varied in the Italian manner], BWV 989 Capriccio sopra la lontananza del suo fratello dilettissimo [Capriccio on the departure of his most beloved brother], BWVCapriccio in E Major, BWV 993
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| Miscellaneous Keyboard
Works - Toccatas, Fugues
And Other Pieces
Piano solo [Sheet music]
Dover Publications
Grand choix de belles pièces, difficile de trouver un grand nombre ailleurs. In...(+)
Grand choix de belles pièces, difficile de trouver un grand nombre ailleurs. Inclus sont clavecin toccatas, Capriccio sur le départ de son frère bien-aimé, Aria variata 'alla Maniera Italiana 'et les 6 Petits Préludes, ainsi que de nombreuses compositions moins connues - plus de 40 en tout. Autorité Breitkopf and Härtel édition.Réimpression de sélections de Werke Johann Sebastian Bach, Série 3, 36, 42, 43, et 44, Breitkopf and Härtel, Leipzig, 1890, 1894 et 1897. / Piano
(Seller in french langage)
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| The Essential Collection
: Classic Film Gold
Edition
Piano solo [Sheet music + CD] - Intermediate/advanced
Chester
Cette collection spectaculaire dispose thèmes époustouflante de tous vos class...(+)
Cette collection spectaculaire dispose thèmes époustouflante de tous vos classiques sur grand écran!Depuis le show-arrêt des morceaux de Shine convaincante, par l'intermédiaire du Jazz miteux de LA Confidential à onze de l'océan suave et l'Apocalypse dramatique Maintenant, qui peut oublier ces moments musicaux merveilleux qui ont fourni la profondeur et du caractère à ces chefs-d'oeuvre de celluloïd - et c'est mais une poignée de mélodies et de thèmes proposés dans cette anthologie unique.Toutes les pièces de vingt à cinq fabuleuses ont été soigneusement disposés comme des solos de piano à couper le souffle pour vous permettre de profiter encore et encore, terminer avec des performances complètes sur le CD fourni. / Piano
(Seller in french langage)
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| The Well-Tempered Clavier
Piano solo
Barenreiter
Facsimile of the autograph manuscript in the Staatsbibliothek zu Berlin - Preuss...(+)
Facsimile of the autograph manuscript in the Staatsbibliothek zu Berlin - Preussischer KulturbesitzWith a Commentary by Christoph Wolff and Martina Rebmann Documenta musicologica II/5090 pages of facsimile and 28 pages of Commentary (Eng/Ger). The preludes and fugues of The Well-Tempered Clavier embrace an entire cosmos of compositional devices and musical characters. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history.The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. This new facsimile edition presents the manuscript in high-quality four-colour reproduction. Bach authority Christoph Wolff provides a Commentary to the work's genesis and the characteristics of Bach's handwriting. Martina Rebmann (Staatsbibliothek zu Berlin) describes the subsequent history of the autograph. / Fac-similé
(Seller in french langage)
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| Piano Classics 90
Timeless Pieces From The
Masters
Piano solo [Sheet music]
Amsco Wise Publications
90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Pian...(+)
90 chefs d'oeuvres intemporels de la musique classique. Partitions piano. / Piano
(Seller in french langage)
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| Requiem (MOZART WOLFGANG
AMADEUS)
Chœur Mixte SATB et Orchestre [Score]
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full ...(+)
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Chœur Mixte SATB et Orchestre
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| Requiem (MOZART WOLFGANG
AMADEUS)
Choeur Mixte SATB et Piano
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal...(+)
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Vocal Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Choeur Mixte SATB et Piano
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| Organ Works, Vol.9 (BACH
JOHANN SEBASTIAN)
Organ [Sheet music + Audio access]
Barenreiter
Organ Chorales From The Neumeister Collection Yale University Manuscript 'Lm 470...(+)
Organ Chorales From The Neumeister Collection Yale University Manuscript 'Lm 4708'. Par BACH JOHANN SEBASTIAN. In 1985 Christoph Wolff, working at Yale University, discovered a collection of 82 chorales compiled by Johann Gottfried Neumeister (1756-1840) which contained 38 compositions by Johann Sebastian Bach. They reveal great stylistic variety whose forebears stem from the Northern German organ tradition.
Already these early works comprising fantasias, fugues, fughettas and imitative techniques employing motifs from chorale melodies bear witness to Bach'
s broad compositional spectrum.
This newly published volume is an updated edition of Series IV/9 of the '
New Bach Edition” (NBA), edited by Christoph Wolff and based on this source.
In addition to a newly added concordance and corrections to the musical text, it also contains a detailed Foreword by Christoph Wolff with further information on the Neumeister Collection and hymnological details. The source of the complete Neumeister Collection has recently been made available on '
Bach digital”, shedding light on the manuscript for the very first time.
Links to major sources have been provided in collaboration with the Bach Leipzig Archive and its database '
Bach digital”. The desired page of the source can be accessed quickly and conveniently via URLs at http://links.baerenreiter.com. The links stored there are examined for their validity on a regular basis.
Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike.
Now all of Bärenreiter'
s new performing editions of Bach'
s organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to '
Bach digital”.
-
Links to relevant sources in '
Bach digital”
-
Detailed new Foreword about the Neumeister Collection by Christoph Wolff (Ger/Eng)
-
Complete new engraving/ Répertoire / Orgue
(Seller in french langage)
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| Music For Millions: New
Classics To Moderns
Piano solo [Sheet music] - Easy
Amsco Wise Publications
Music For Millions: New Classics To Moderns has been developed from the original...(+)
Music For Millions: New Classics To Moderns has been developed from the original much-loved series by Denes Agay. As with previous volumes, the collection opens with music from the 1600s before taking the player on a journey through many different periods of musical history. / Piano
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| Everybody's Favorite
Easy Piano Pieces
Piano solo [Sheet music] - Easy
Music Sales
This collection contains 55 notable works by some of the world's best-known comp...(+)
This collection contains 55 notable works by some of the world's best-known composers in the classical tradition. Spanning over 250 years, from Bach to Rachmaninoff, players can enjoy an inspiring journey through the history of classical music whilst learning to play these celebrated compositions. Short biographies are included for selected composers, allowing players to gain further insight into their lives and works.All the pieces in this book have been arranged in Easy Piano format in a considered and thoughtful fashion, retaining as much of the original musical substance as possible.Everybody's Favorite Easy Piano Pieces contains Massenet's Meditation from Thais, Beethoven's Moonlight Sonata, Holst's Jupiter from The Planets, Debussy's Clair De Lune, Handel's The Arrival Of The Queen Of Sheba, Grieg's Morning from Peer Gynt, Schubert's Death And The Maiden and many more of the greatest classical pieces ever composed. / Piano
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| String Quintets
 Deutsch
String Quintet: 2 violins, 2 violas,
cello
G. Henle
72.61 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | | |
| String Quintets
Deutsch
String Quintet: 2 violins, 2 violas,
cello [Study Score / Miniature]
G. Henle
36.30 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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