Schubert?s well-known collection of Moments Musicaux was published in 1828, during the last year of the composer?s life, but some of the pieces date back to the beginning of the 1820s. In 1823 he published his extremely popular Air russe which later became the third piece of the Moments Musicaux and during the following year the chordal sixth piece entitled Plaintes d?un Troubadour . The multi-faceted lyrical atmospheric pieces are particularly suitable for piano teaching because of their charming variety as well as their moderate technical demands. They have become an indispensable part of the concert repertoire.

For the first time this scholarly-critical Urtext edition presents the musical text of the New Schubert Edition in new engraving and with optimum page-turns. The fingering takes essential aspects of performance practice of Schubert?s time as well as performance on the modern concert grand piano into consideration.

A detailed foreword, suggestions for performance and notes on the evaluation of the primary sources complete the edition.

- Scholarly-critical editions based on the Urtext of the New Schubert Edition, taking all known sources into account
- Newly engraved editions with optimum page-turns
- With fingering and suggestions for performance (Ger/Eng) by Mario Aschauer
- With a detailed foreword (Ger/Eng) and critical commentary (Eng) / Classique / Partition / Agrafé /

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Formation Musicale

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Contrebasse

Par LIBERTINES THE. Originally hailed as Britain's answer to The Strokes, The Libertines have proved themselves to be so much more, combining the story-telling nostalgia of travelling troubadours with a sound that echoes The Jam, The Smiths and the best of English pop heritage. This, their second album, was released in the now mandatory storm of headlines and hedonism, and is presented in full guitar Tablature transcriptions. Includes bonus singles Time For Heroes, Up The Bracket and the foul-mouthed What A Waster . / Niveau : Assez Facile / Tablatures / Guitare Tablatures

Par TROUBADOUR SERGE. Cette méthode propose aux pianistes d'aborder le jazz dès la troisième année d'étude. Serge Troubadour présente dans un premier temps les outils (chiffrage des accords, articulations, chorus, etc.) et propose à travers plusieurs 'clichés” l'étude dét des différents styles du jazz : boogie, blues, ragtime, funk, jazz-rock, salsa et musique cubaine. En complément, 6 morceaux d'application illustrent les explications de la première partie :Summertime - In The Mood - All Of Me - El Manisero - Girl- Misty - ... / Pédagogie / Méthode / Piano

Dix chansons pour les voix des enfants, des magnétoscopes et ensemble de Orff, conçu pour prendre les enfants en voyage englobant quatre modes, quatre pays et huit siècles, à commencer par les troubadours de la France médiévale et dont le point culminant avec les paramètres de textes de poètes du XXe siècle Eleanor Farjeon et Sara Teesdale. Les arrangements sont conçus pour passer avec succès de la salle de classe dans une situation de performance. / Voix Et Orff-Instruments

Schubert?s well-known collection of Moments Musicaux was published in 1828, during the last year of the composer?s life, but some of the pieces date back to the beginning of the 1820s. In 1823 he published his extremely popular Air russe which later became the third piece of the Moments Musicaux and during the following year the chordal sixth piece entitled Plaintes d?un Troubadour . The multi-faceted lyrical atmospheric pieces are particularly suitable for piano teaching because of their charming variety as well as their moderate technical demands. They have become an indispensable part of the concert repertoire.

For the first time this scholarly-critical Urtext edition presents the musical text of the New Schubert Edition in new engraving and with optimum page-turns. The fingering takes essential aspects of performance practice of Schubert?s time as well as performance on the modern concert grand piano into consideration.

A detailed foreword, suggestions for performance and notes on the evaluation of the primary sources complete the edition.

- Scholarly-critical editions based on the Urtext of the New Schubert Edition, taking all known sources into account
- Newly engraved editions with optimum page-turns
- With fingering and suggestions for performance (Ger/Eng) by Mario Aschauer
- With a detailed foreword (Ger/Eng) and critical commentary.

Mario Aschauer
studied piano, historical keyboard instruments, conducting and musicology in Linz, Salzburg and Vienna. He performs as a soloist and chamber musician, with groups including the Austrian Calamus Consort, presenting a wide-ranging repertoire on fortepiano, harpsichord and organ. / Classique / Partition /

Vocal Score / Softcover. Par VERDI GIUSEPPE. In a letter of 2 January 1851, Verdi suggested for the first time Antonio Garcia Gutierrez play El Trovador as a possible subject for his new Opera: 'It seems to me very beautiful, imaginative, and full of strong situations'. Once he had settled on the subject, the composer immediately began looking for a theater in which to produce the Opera and after protracted negotiations he decided to stage Il Trovatore in Rome. The premiere occurred on 19 January 1853 at the Teatro Apollo and was an enormous success. The appreciation of the new work increased from performance to performance. The third performance was the last the composer was contractuallyobliged to attend: at the end of the evening the audience presented Verdi with two laurel wreaths. Verdi 's account of the performances, contained in a letter to his friend Clarina Maffei, was eloquent: 'They say that this Opera is too sad and that there are too many deaths. But ultimetley in life everything is death! What exists?. . . ' Notwithstanding Verdi 's pessimism, Il Trovatore circulated rapidly. In fact, no other Opera of Verdi except 'Ernani' enjoyed such instant and widespread success./ Répertoire / Chant et Piano

English Folk Tunes contains 29 original arrangements of traditional and contemporary tunes including ballads, sea shanties, and carols. Most of the pieces are arranged for solo guitar, with several also offered as trios and with accompaniments.Experienced folk guitarist, and author of Scottish Folk Tunes for Guitar (ED 13359) Hugh Burns provides notes on all of the pieces, as well as playing tips, and technical advice. The volume is accompanied by a CD with a recording of all tunes performed by Hugh Burns. German and French translations of all texts are available as pdf downloads from the Schott Music website. Suitable for players of grades 3-8. / Guitare

Par BUCKLEY ROBERT. Parfois juste au-delà de l'horizon, parfois sous nos pieds. C'est un pays insaisissable fait de crépuscule et de brume, de chimères et lueurs, un monde qui nous intrigue et nourrit notre imagination. Imaginez un cortège coloré de créatures et de personnages tout droit sortis des mythes ancestraux et légendes incroyables : magiciens et sorcières, bouffons et jongleurs, ménestrels et troubadours, échassiers et monocyclistes, lutins et gargouilles, gnomes bruyants et farfadets riants, dragons géants et fées volantes, carrosses rutilants tirés par des licornes caracolantes, tous se dirigent vers le château de Merlin l’Enchanteur. La musique est à l’image du scénario imaginé par lecompositeur : originale et lumineuse pour mieux nous livrer les secrets des couleurs médiévales. La percussion ouvre le cortège, puis vient le temps de l’exposition des thèmes avant de les unir dans un subtil mélange aux couleurs de plus en plus intenses jusqu’au tableau final : l’entrée au château du devin et magicien Merlin. / Niveau : 3 / Pièce de concert / Date parution : 1905-07-01/ Répertoire / Concert Band ou Harmonie

Par BUCKLEY ROBERT. Parfois juste au-delà de l'horizon, parfois sous nos pieds. C'est un pays insaisissable fait de crépuscule et de brume, de chimères et lueurs, un monde qui nous intrigue et nourrit notre imagination. Imaginez un cortège coloré de créatures et de personnages tout droit sortis des mythes ancestraux et légendes incroyables : magiciens et sorcières, bouffons et jongleurs, ménestrels et troubadours, échassiers et monocyclistes, lutins et gargouilles, gnomes bruyants et farfadets riants, dragons géants et fées volantes, carrosses rutilants tirés par des licornes caracolantes, tous se dirigent vers le château de Merlin l'Enchanteur.La musique est à l'image du scénario imaginé par le compositeur : originale et lumineuse pour mieux nous livrer les secrets des couleurs médiévales. La percussion ouvre le cortège, puis vient le temps de l'exposition des thèmes avant de les unir dans un subtil mélange aux couleurs de plus en plus intenses jusqu'au tableau final : l'entrée au château du devin et magicien Merlin. / Niveau : 3 / Date parution : 1905-07-01/ Répertoire / SATB

Par BUCKLEY ROBERT. Parfois juste au-delà de l'horizon, parfois sous nos pieds. C'est un pays insaisissable fait de crépuscule et de brume, de chimères et lueurs, un monde qui nous intrigue et nourrit notre imagination. Imaginez un cortège coloré de créatures et de personnages tout droit sortis des mythes ancestraux et légendes incroyables : magiciens et sorcières, bouffons et jongleurs, ménestrels et troubadours, échassiers et monocyclistes, lutins et gargouilles, gnomes bruyants et farfadets riants, dragons géants et fées volantes, carrosses rutilants tirés par des licornes caracolantes, tous se dirigent vers le château de Merlin l’Enchanteur. La musique est à l’image du scénario imaginé par lecompositeur : originale et lumineuse pour mieux nous livrer les secrets des couleurs médiévales. La percussion ouvre le cortège, puis vient le temps de l’exposition des thèmes avant de les unir dans un subtil mélange aux couleurs de plus en plus intenses jusqu’au tableau final : l’entrée au château du devin et magicien Merlin. / Niveau : 3 / Pièce de concert / Date parution : 1905-07-01/ Répertoire / Concert Band ou Harmonie