Clubs Among Jokers is the third of four suites for solo Guitar collectively entitled Tales From A Hand each of which takes its point of departure from one of the four suits of playing cards.

Sopra La Lontananza Del Frato Dilettissimo BWV 992-J. S. Bach composed his Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo (Capriccio On The Departure Of A Beloved Brother) in the early years of his career. It is rumored that the piece waswritten and performed by a nineteen-year-old Bach on the occasion of his brother Johann Jacob leaving home to become an oboist in the army of Charles XII in Sweden. The work is possibly modeled on the Biblical Sonatas ofJohann Kuhnau.This Henle Urtext Edition for solo Piano has been edited by Georg von Dadelsen and does not include fingering.

The movie soundtrack featuring the songs of ABBA-This 2018 sequel/prequel to the popular 2008 film of the same name again features the music of '70s pop sensation ABBA. Our matching songbook includes the songs: Andante Andante - Angel Eyes - Dancing Queen - Day Before You Came - Fernando - I Have a Dream - I Wonder (Departure) - I've Been Waiting for You - Kisses of Fire - Knowing Me Knowing You - Mamma Mia - My Love My Life - The Name of the Game - One of Us - Super Trouper - Waterloo - When I Kissed the Teacher - Why Did It Have to Be Me?

This volume contains all of Rachmaninov's works for Piano solo published after his departure from Russia in 1917.

Beethoven's Piano Sonata No. 26 in E Flat ‘Les Adieux’ was written around the spring of 1809 when the French army attacked Vienna and Beethoven's friend patron and pupil Archduke Rudolph was forced to flee the city for many months. Beethoven wrote the words ‘On the departure of His Majesty the revered Archduke Rudolph’ in French at the head of the score of this most recent project Op. 81a. The first published edition of the Sonata from 1811 also has titles at the head of each of the sonata’s three movements: ‘Les Adieux’ (The Farewell) ‘L’Absence’ (The Absence) and ‘Le Retour’ (The Return) but it is not known as to whether these titles were inserted at Beethoven’sdirections or if they were added by the Publisher. Whatever the case may be there can be no doubt that Les Adieux is genuine evidence of one friend's care for another and it is no surprise that the piece is better known for its titles than for its magnificent music.

Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be

Mezzo Soprano Version-'Moj e Bukura Moré (My Beautiful Morea) has its origin in Southern Italy in Calabria where an Albanian community has lived for more than 500 years and so has the song! The tenderness of the melodic lines expresses the natural beauty of the distant homeland which according to legend can be seen from the Calabrian mountain-tops. As in most folk songs this tune is remarkably short; the melody itself has not been altered but has been extended enriched in texture and presented in different ways. The melodic lines serve as a point of departure for the proliferation of a distinct harmonic vocabulary.' - Thomas Simaku

The Beasty Band est une composition à 4 voix de Jacob de Haan qui mènera votre auditoire dans un voyage à la ferme. Ceci est une collection de 9 courtes pièces entraînantes avec des sons d'animaux qui peuvent être réalisés par les musiciens : 1. Arrival 2. Cows 3. Horses 4. Cats 5. Dogs 6. Pigs 7. Chickens 8. Sheep and Goats et 9. Departure.

26 songs from 15 Ghibli cinemas arranged for solo trumpet and piano.
1. Nausicaa of the Valley of Wind - Opening Theme
2. The Girl Who Fell From the Sky
3. Doves and the Boy
4. My Neighbor Totoro
5. Hey Let's Go
6. Cat Bus
7. The Path of the Win
8. A Town with an Ocean View
9. on a Clear Day
10. Departure
11. Starting the Job
12. The Theme of Marco and Gina
13. Le Temps des cerises
14. Princess Mononoke
15. The Legend of Ashitaka
16. Ashitaka and San
17. Always with Me
18. Reprise
19. Merry-Go-Round of Life
20. Therru's Song
21. Ponyo on the Cliff by the Sea
22. Arrietty?s Song
23. Summer of Farewells - From Up On Poppy Hill
24. Hikoukigumo(Vapor Trail) 25
25. Fine on the Outside
/ Partitions variété - pop - rock / Musique films - comédies musicales / / ZEN-ON

Par PAUS RAMON. Piano piece resulting from the nostalgia that invaded the composer after the departure of a veiled woman, his mother. / Date parution : 2022-02-03/ Répertoire / Piano

The Only was written as a conscious departure from intricate polyphonic part-writing by a composer to whose thinking counterpoint is usually more central. This piece seeks to emulate the kind of easy lyricism which is such a fingerprint of John Rutter's music while preserving a slightly more austere even archaic harmonic language. The rhythmic patterning of the accompanying piano part suggests a more popular idiom and makes the carol suitable for use outside the confines of a church service.

For the first time in print, here are 15 Max Richter Piano Works complete with notes for each, specially written by the composer. This ground-breaking collection represents a unique drawing together of the strands of the gifted composer's varied output, embracing his work with the London Philharmonic (Memoryhouse), The Blue Notebooks, Royal Ballet-commissioned Infra and subsequent highly regarded concept albums. Andras Circles from the rue Simon-Crubellier Departure Fragment From the rue Villin H in New England Horizon Variations INFRA 3 Leo's Journal The Blue Notebooks The Family The Tartu Piano The Twins (Prague) Vladimir's Blues Written On The Sky

Scales and scale studies for the viola-This is a scale book of unprecedented scope. Simon Fischer has developed an entirely new method in which using the traditional ways of practising scales only as a point of departure he focuses on numerous often-neglected aspects of the Violist’s technique. For every element he has designed exercises that sensitize the ear stimulate the mind and build the playing apparatus of the Violist. The many outstanding features of this book include: how to structure intonation around perfect intervals and leading notes a new approach to learning how to time shifts extensive notation for preparing and holding down fingersone- two- three- and four-octave scales and arpeggios two-octave scales and arpeggios on one string new sequences for single-finger scales Many well-known Fischer classics are also incorporated including practice methods for intonation smooth bowing string crossing fast fingers fourth-finger extensions and placing fingers in blocks. The innovative and wide-ranging material in Scales keeps the player turning the pages discovering yet more exciting ways to approach scales. The wealth of thought-provoking exercises encourages Violists to re-evaluate their practice – developing the playing skills of Violists at all levels from intermediate to professional.

Edition : Jan Ekier Paweł Kamiński Chopin composed his ''Mazurkas'' continuously from 1825 to 1849. The half-utilitarian genre was a point of departure, gradually becoming a form of meditative lyricism - the most personal statement of expression. Chopin's ''Mazurkas'' present a number of specific performance problems resulting from such causes as the diversity of individual mazurkas, their collection in opus groups by Chopin and his drawing inspiration from dance forms of Polish folk music. Volume No. 4 contains 43 mazurkas. Of the variants in musical notation, those designated ''ossia'' were marked in this way by Chopin himself or inscribed in his hand in pupils' copies, while those without this indication result from textual divergences in authentic copies or from difficulties in reading the text in an unambiguous way. - Mazurka in F sharp minor Op. 6 No. 1 - Mazurka in C sharp minor Op. 6 No. 2 - Mazurka in E major Op. 6 No. 3 - Mazurka in E flat minor Op. 6 No. 4 - Mazurka in C major Op. 6 No. 5 - Mazurka in B flat major Op. 7 No. 1 - Mazurka in A minor Op. 7 No. 2 - Mazurka in F minor Op. 7 No. 3 - Mazurka in A flat major Op. 7 No. 4 - Mazurka in B flat major Op. 17 No. 1 - Mazurka in E minor Op. 17 No. 2 - Mazurka in A flat major Op. 17 No. 3 - Mazurka in A minor Op. 17 No. 4 - Mazurka in G minor Op. 24 No. 1 - Mazurka in C major Op. 24 No. 2 - Mazurka in A flat major Op. 24 No. 3 - Mazurka in B flat minor Op. 24 No. 4 - Mazurka in C minor Op. 30 No. 1 - Mazurka in B minor Op. 30 No. 2 - Mazurka in D flat major Op. 30 No. 3 - Mazurka in C sharp minor Op. 30 No. 4 - Mazurka in G sharp minor Op. 33 No. 1 - Mazurka in C major Op. 33 No. 2 - Mazurka in D major Op. 33 No. 3 - Mazurka in B minor Op. 33 No. 4 - Mazurka in E minor Op. 41 No. 1 - Mazurka in B major Op. 41 No. 2 - Mazurka in A flat major Op. 41 No. 3 - Mazurka in C sharp minor Op. 41 No. 4 - Mazurka in A minor Dbop. 42A - Mazurka in A minor Dbop. 42B - Mazurka in G major Op. 50 No. 1 - Mazurka in A flat major Op. 50 No. 2 - Mazurka in C sharp minor Op. 50 No. 3 - Mazurka in B major Op. 56 No. 1 - Mazurka in C major Op. 56 No. 2 - Mazurka in C minor Op. 56 No. 3 - Mazurka in A minor Op. 59 No. 1 - Mazurka in A flat major Op. 59 No. 2 - Mazurka in F sharp minor Op. 59 No. 3 - Mazurka in B major Op. 63 No. 1 - Mazurka in C sharp minor Op. 63 No. 3