164 easy arrangements with chords of carols from around the world complete with lyrics in the original language as well as English. This special collection also includes historical background information on the observance of Christmas through the years and notes about specific carols to give added understanding. Songs are included from England Italy Latin America Spain Scandinavia Poland Czech Republic and more.Note on the arrangements:'We have worked to make this book both flexible and useful. The Piano accompaniments have been kept simple but much effort has gone into making them musically interesting and satisfying. Chordindications are given for every carol so that the accompaniments may be played on Chord Organs Accordions Guitars Ukuleles and other fretted instruments. A detailed chart demonstrating how to finger chords for fretted instruments is given at the back of the book.We have been careful to keep the voice ranges of the songs comfortable and the texts singable. Since harmony parts always add much pleasure to singing we have retained traditional four-part arrangements of the most familiar carols and hymns. For the others we have provided a second part to go along with the melody (printed in smaller notes) that may be sung or played on the Recorder Flute Violin or on other non-transposing instruments.' - Walter Ehret George K. Evans

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale

E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score

Collection de 64 ?uvres de Tchaikovsky des symphonies aux concertos, en passant pas les opéras, les ballets et les ?uvres pour piano. Partitions pour piano solo du niveau facile à intermédiaire. / Classique / Partition /

Over 20 favourite concerto movements arranged for piano solo by Cecil Bolton. From Rachmaninov's Second Piano Concerto to Mozart's Clarinet Concerto this collection features many of your favourites!

62 titles, including: Autumn Song ? Dance Of The Candy Fairy ? March Of The Tin Soldiers ? Romeo And Juliet Love Theme ? more.

The Collaborative Artist Flute Violin Piano-Faber Piano Adventures is proud to present a new chamber music composition Curiouser and Curiouser. Composed by Nancy Faber this unique piece was commissioned by the Music Teachers National Association (MTNA) to celebratethe organization's Year of Collaborative Music and was debuted at the 2011 MTNA National Convention.Written for late intermediate to early advanced students this chamber trio features a ?curious? one-noteopening followed by a quirky merry melody that leads the performers to unexpected musical places. The piece ends as mysteriously as it begins ? with a final flourish.This piece is suitable for piano students whohave completed Piano Adventures® Level 5.

Uses: General Lent Ash Wednesday Holy WeekScripture: I John 1:9; Psalm 51:10-12; Hebrews 8:12From the pages of concert music repertoire comes an adaptation that incorporates the power of theoriginal masterwork with the impact of a new sacred text. Contemplative in nature the cry for forgiveness and mercy rises like a prayer from the luxurious textures of the choral sonority. Linear voice leading gives thisthrough-composed anthem an organic quality flowing with emotion and religious devotion. A noble orchestration crowns the whole with dignity and nobility. Available separately: SATB Orchestration StudioTrax CD. (Orchestrationinstrumentation: Score & parts for flute 1&2 oboe clarinet 1&2 bassoon horn 1&2 trumpets 1-3 trombone 1-3 tuba timpani percussion 1&2 harp piano violin 1&2 viola cello double bass). Duration: ca. 4:47.

There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5 1778 he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon”.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned “sinfonie concertante” in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score & parts (BA4900) study score format 22.5 x 16.5cm (TP176) violin viola and piano reduction (BA4900-90) available for sale