| Sonatina da camera Harpsichord Schott
(for Cembalo or Harpsichord). By Hermann Schroeder (1904-1984). For Harpsichord,...(+)
(for Cembalo or Harpsichord). By Hermann Schroeder (1904-1984). For Harpsichord, Cembalo. Schott. Softcover. 12 pages. Schott Music #ED20936. Published by Schott Music
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| Etudes Pour Agresseurs Vol.4 (harpsichord & Orchestra) Harpsichord Leduc, Alphonse
Harpsichord SKU: HL.48182895 Composed by Alain Louvier. Leduc. Classical....(+)
Harpsichord SKU: HL.48182895 Composed by Alain Louvier. Leduc. Classical. Softcover. Alphonse Leduc #AL24640. Published by Alphonse Leduc (HL.48182895). UPC: 888680862008. 10.75x14.5x0.39 inches. For harpsichord and string orchestra. $160.10 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata for Harpsichord Harpsichord Theodore Presser Co.
Composed by Eric Ewazen. Contemporary. Solo Part. With Standard Notation. Com...(+)
Composed by Eric Ewazen.
Contemporary. Solo Part.
With Standard Notation.
Composed 1980. 32 pages.
Duration 18 minutes.
Theodore Presser Company
#110-41817. Published by
Theodore Presser Company
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| Intermediate Music for Three, Volume 1, Part 1 - Flute or Oboe or Violin [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Flute or Oboe or Violin in C. Trios. Intermediate Music for Three. Classical. Intermediate. Partbook - Part 1. Published by Last Resort Music Publishing
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| Intermediate Music for Three, Volume 1, Part 3 - Cello/Bassoon [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Cello or Bassoon in C. Trios. Intermediate Music for Three. Classical. Intermediate. Partbook - Part 3. Published by Last Resort Music Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 1, Part 2 - Flute/Oboe/Violin [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Flute or Oboe or Violin in C. Trios. Intermediate Music for Three. Classical. Intermediate. Partbook - Part 2. Published by Last Resort Music Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Intermediate Music for Three, Volume 1 - Keyboard/Guitar [Part] Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Various. Arranged by Daniel Kelley. String Trio, Wind Trio, Mixed Trio, Clarinet Trio, Saxophone Trio, Piano Trio, Piano Quartet. For Keyboard or Guitar. Trios. Intermediate Music for Three. Classical. Intermediate. Keyboard/guitar partbook. Published by Last Resort Music Publishing
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| Three Inventions Harpsichord [Score] Theodore Presser Co.
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full score. 11 pages. Duration 10 minutes. Theodore Presser Company #110-41839. Published by Theodore Presser Company (PR.110418390). ISBN 9781491134603. UPC: 680160685158. Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand†texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication. THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The William Bay Collection - Plectrum Guitar Solo Anthology Guitar [Sheet music + Audio access] - Intermediate Mel Bay
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Fol...(+)
Guitar - Intermediate SKU: MB.WBM58M Traditional, Wire bound, Celtic. Folk. Book and online audio. 216 pages. Mel Bay Publications, Inc #WBM58M. Published by Mel Bay Publications, Inc (MB.WBM58M). ISBN 9781736363058. 8.75x11.75 inches. A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio. $34.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Pieces Clarinet Quartet: 4 clarinets [Score and Parts] Alea Publishing
Composed by Elisbeth Jacquet de la Guerre. For 3 clarinets, bass clarinet. Score...(+)
Composed by Elisbeth Jacquet de la Guerre. For 3 clarinets, bass clarinet. Score and parts. 9 pages (score); 2 pages (each part). Published by Alea Publishing
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| Frederic Chopin: Etude E major op. 10,3 Piano solo [Sheet music] - Advanced G. Henle
Piano Solo. By Frederic Chopin. Edited by E. Zimmermann. For piano solo. This ed...(+)
Piano Solo. By Frederic Chopin. Edited by E. Zimmermann. For piano solo. This edition: HN656. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: 5. Urtext edition-paper bound. 7 pages. Published by G. Henle.
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| Concerto for Harpsichord and Strings [Score] Peters
Orchestra harpsichord and strings SKU: PE.EP67458 Composed by William Alb...(+)
Orchestra harpsichord and strings SKU: PE.EP67458 Composed by William Albright. Score. Peters Contemporary Library. 20th Century. Score and Part(s). 88 pages. Duration 28 minutes. Edition Peters #98-EP67458. Published by Edition Peters (PE.EP67458). ISBN 9790300740171. 297 x 420mm inches. This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer. About Peters Contemporary Library Mark Andre Milton Babbitt Daniel Bjarnason Earle Brown John Cage Henry Cowell James Dillon Jonathan Dove Brian Ferneyhough Roxanna Panufnik Rebecca Saunders Erkki-Sven Tuur Charles Wuorinen These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike. Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world. $120.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Des Lys Naissants Harpsichord [Score] Van de Velde
By Catherine Zimmer. For harpsichord. Method / Etudes. Score. 96 pages. Publishe...(+)
By Catherine Zimmer. For harpsichord. Method / Etudes. Score. 96 pages. Published by Editions Van de Velde
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| Le Langage Du Clavecin Harpsichord [Sheet music] Van de Velde
By Antoine Geoffroy-Dechaume. For harpsichord. Method / Etudes. Book. Published ...(+)
By Antoine Geoffroy-Dechaume. For harpsichord. Method / Etudes. Book. Published by Editions Van de Velde
$24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Balli per Cembalo Harpsichord [Score] Edition HH
By Various. Edited by Christopher Hogwood. For Clavichord, harpsichord, organ. P...(+)
By Various. Edited by Christopher Hogwood. For Clavichord, harpsichord, organ. Playing score. Published by Edition HH Music Publishers (U.K. Import).
$44.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Three sonatas for harpsichord or fortepiano with flute [Score] Anne Fuzeau Productions
Harpsichord and flute, Piano and flute SKU: FZ.5937 Composed by Francois ...(+)
Harpsichord and flute, Piano and flute SKU: FZ.5937 Composed by Francois Devienne. Edited by Les Etudiants du C.E.F.E.D.E.M - Ile de France. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Score. Published by Anne Fuzeau Productions - France (FZ.5937). ISBN 9790230659376. 24.00 x 33.00 cm inches. This facsimile of an original by Francois Devienne is part of our French classical music collection. Edition : Paris, Le Duc, 1785. Preface by the students of the CeFEdeM-Ile-de-France: the ornamentation of the three sonatas. Two separate instrumental parts: fortepiano, flute. The preface examines the ornamentation of the three sonatas, typical of the turning point between the eighteenth and nineteenth centuries. Like the flute part, the piano part contains almost no phrase marks: some research into the subject is therefore necessary it should be based on Devienne's own flute tutor. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Schumann, Robert: Paganini etudes op. 3 and op. 10 Piano solo [Sheet music] - Advanced G. Henle
(Piano Solo). By Robert Schumann. Edited by Wolfgang Boetticher. For piano solo....(+)
(Piano Solo). By Robert Schumann. Edited by Wolfgang Boetticher. For piano solo. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: XXII and 74. SMP Level 10 (Advanced). Softcover. 96 pages. G. Henle Verlag #HN614. Published by G. Henle Verlag
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| Three sonatas for harpsichord or fortepiano with an accompaniment for the flute (or violin) and cello. [Score] Anne Fuzeau Productions
Piano, flute, cello or piano, violin, cello (trio) SKU: FZ.5887 Composed ...(+)
Piano, flute, cello or piano, violin, cello (trio) SKU: FZ.5887 Composed by Ignaz Josef Pleyel. Edited by Les Etudiants du C.E.F.E.D.E.M - Ile de France. This edition: Facsimile. La Musique Francaise Classique de 1650 a 1800. Score. Published by Anne Fuzeau Productions - France (FZ.5887). ISBN 9790230658874. 24.00 x 33.00 cm inches. This facsimile of an original by Ignace Pleyel is part of our French classical music collection. Edition : Paris, Sieber, 1788. Preface by students of the CeFEdeM-Ile-de-France: Pleyel's biography the works of Ignace Pleyel - Pleyel the music publisher - Pleyel the piano builder - the Salle Pleyel in rue Rochechouart - hints about the score. Three separate instrumental parts: piano - flute or violin - cello. The composer, publisher, and piano maker, Ignace Pleyel, holds an important place at the cusp of the 18th and 19th centuries. The quality of the compositions produced by this student of Haydn makes their republishing worthwhile. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores. $38.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 10 Etudes for Piano Piano solo [Score] Edward B. Marks Music Company
Piano solo SKU: SU.80600580 For Piano solo. Composed by Yukiko Nis...(+)
Piano solo SKU: SU.80600580 For Piano solo. Composed by Yukiko Nishimura. Keyboard, Piano/Harpsichord. Score. Edward B. Marks Music #80600580. Published by Edward B. Marks Music (SU.80600580). Commissioned and premiered by Sara Davis BuechnerPiano solo Composed: 2011 Published by: E.B. Marks. $37.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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