Emperor-Concerto No.5 In E Flat Op.73 'Emperor' was expertly composed by Ludwig Van Beethoven.This miniature score is celebrated and highly authoritative and is the definitive reference source for study performance preparation or simply for those with a love of the great orchestral works.

Concerto à flûte à bec, 2 violini, viola e cembalo (c.1731) Ouverture à flûte à bec, 2 violini, viola e cembalo (c.1741) Canon all'unisono a 2 flauti, violoncello o vero viola da gamba et cembalo (c. 1737)Présentation de Susi Möhlmeier et Frédérique Thouvenot : notice biographique - sources - lecture de la partition (articulation, dynamique, rythme, terminologie, agrémentation, ornementation, notation générale, basse continue) - suggestions. Intégrale des oeuvres pour flûte à bec de Graupner. Manuscrits autographes de Graupner, conservés à la Hessische Landes-und Hochschulbibliothek de Darmstadt.Concerto : 2 flûtes à bec, deux violons, alto, basse continue.Ouverture : flûte à bec, deux violons, alto, basse continue.Canon : 2 flûtes à bec, violoncelle ou viole de gambe. / Musique De Chambre / 71 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire

Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. Par VIVALDI ANTONIO. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed./ Répertoire / Chant et Piano

The new scholarly-critical edition of the score of Rameau’s “ballet héroïque” Les Indes galantes finally clears up its convoluted source history. At the first performance,on 23 August 1735, it consisted of a prologue and three acts: Le Turc généreux, Les Incas du Pérou and Les Fleurs. But Les Fleurs already proved controversial in the early performances, and from 11 Septemberof that same year it was given a wholly new form. For the revival on 10 March 1736 Rameau and Fuzelier added an entirely new act Les Sauvages, and in the years that followed, the “ballethéroïque”was presented either complete (1743, 1751 and 1761) or abridged with a prologue, Les Incas du Pérou and Les Sauvages (1751–73).With regard to the instrumental movements (dances anddescriptive pieces), the present publication is based on the complete edition Opera Omnia Rameau (OOR) volumes IV/2 and IV/7 edited by Sylvie Bouissou. It includes not only the orchestral pieces in the version deemedvalid by Rameau in 1736 (with version 2 of Les Fleurs and Les Sauvages), but also those from the first version of Les Fleurs (1735) as well as its 1743 and 1773 revisions. Performers are thus given a complete selection ofall the orchestral numbers from one of Rameau’s central stage works for use also in concert performance.– Based on Opera Omnia Rameau (OOR) Series IV/2 and IV/7– Well-presented layout in aformat of 23.7 x 33 cm / Grand format / Barenreiter

Par REBEL JEAN-FERY. Fantaisie. Paris, l'auteur, Le Clerc, 1729 - oeuvre publiée en partitionLes Plaisirs Champêtres. Paris, Le Clerc, s.d. (=1734) - oeuvre publiée en partitionAnnexe : Les parodies nouvelles. ExtraitsPrésentation de Catherine CessacCette édition est préfacée par Catherine Cessac, spécialiste de Rebel, auteur d'un livre sur ce compositeur. / Niveau : Facile / Répertoire / Musique de Chambre (Fac-similé)

Sancta Maria mater Dei K.273 scored for mixed choir (SATB) Strings Organ.Written in Salzburg in September 1777 it was most likely composed as an offertory motet for the Feast of the Blessed Virgin Mary on the 12th September.- Urtext of the New Mozart Edition- Full score & performance material (BA4751) and vocal score (BA4751-90) for sale

Benedetto Marcello (1686-1739) is known today as an Italian composer of opera and instrumental music. This sonata transcribed for tuba and keyboard was originally a cello sonata composed in 1732. The transcribers have takengreat care to preserve Marcello's intentions by consulting an original edition of the sonata published in London by John Walsh. The only changes from Marcello's score involve some of the dynamic and phrasing indications whichwere made with the tuba player's specific needs in mind.

Cette partition FANTASIESTÜCKE OPUS 73 de Schumann Robert a été éditée par les éditions Billaudot. La référence de cette partition de musique est GB7373. Cette oeuvre d'une durée de 00:11:15 est idéale pour les musiciens pratiquant Alto. Après quelques heures de pratique, cette partition n'aura plus de secret pour vous. / Alto Et Piano / Partition