'Die fröhliche Viola' is a viola method for children which is aimed primarily at pupils who start to learn playing the viola without taking a detour to the violin. Those who have already played the violin and use the method as a 'way to change instruments' may skip some pieces or even start with Vol.2.Like 'Die fröhliche Violine', this book intends to make the children have fun while learning to play the viola. For this purpose, a stylistically varied range of classical and folkloristic songs and instrumental pieces encourage music-making, and small texts provide interesting information on the viola, the music and its composers.The viola is used both as a solo and as an accompanying instrument, and the 'hearing' and 'counting' of middle and lower lines are specifically trained. Due to the fact that many songs and secondary parts are notated in the treble clef and thanks to examples for trio and quartet playing, this book especially encourages ensemble playing with friends or within the family.

2me Polonaise brillante pour violon avec acompagnement de piano op.21 Henryk Wieniawski wrote only two polonaises. The first one, op. 4 in D minor, is one of his youthful works; the other, op. 21 in A major, is one of the last works he composed. Moreover, H. Wieniawski is the co-author of another polonaise, op. 8, for violin and piano, which he wrote with his brother Józef Wieniawski, a pianist. The latter polonaise, like the Polonaise in D minor op. 4, is also a youthful composition (1852). The polonaise as a genre, therefore, does not occupy much space in Wieniawskis heritage. Nonetheless, both polonaises, in D minor and A major, constitute an essential part of his artistic inheritance. Likewise, both polonaises had been composed in two versions: for violin and orchestra, and for violin and piano. The Polonaise in A major was completed in 1870. It is not known precisely which of the versions, the one with the piano, or the one with the orchestra first came into being. It was the version with orchestra that the composer performed for the first time on 17 March 1870, in the Grand Theatre in St. Petersburg. But merely two months later he performed the Polonaise in Warsaw, accompanied by his brother Józef at the piano. It is quite possible that Wieniawski had already performed this version of the Polonaise. It is certain, nonetheless, that both versions either appeared simultaneously, or one was composed shortly after the other. From its first public performance until the end of his concert career, Wieniawski often included this Polonaise in his concert repertoire, playing one version or another, the choice depending on the needs and circumstances. Just to mention one occasion, he played the orchestral version during a concert tour of Sweden in 1870, when he dedicated and presented a manuscript of this piece to King Charles XV of Sweden. The dedication, however, was changed in print, and both versions were eventually dedicated to François van Hal. Both versions were published simultaneously, by Schott Publishers in Mainz, with the same plate number, though the orchestral version appeared only in parts, which was a common practice in those days. The piece was most probably not published earlier than 18751. The Polonaise was praised by the critics. The reviews reported that it was a magnificent piece2, and this opinion was shared by later critical reviews, both Russian and West European. The Polonaise remained popular after the composer had died, which is evident from the number of later editions of the piece (more than ten) issued by different publishers, mostly German, and prepared by different editors. In Poland, the Polonaise was published twice after the Second World War. All the editions introduced some more or less significant changes into the text, mostly concerning performance indications, but in a sense blurring the composers intentions. All those changes were pertinent to the violin and piano version, and it was mostly in this form that the piece appeared in concert and teaching repertoires. The performances with an orchestra were much more seldom which was, among other factors, due to limited availability of the orchestral version, as it had never been published again after the first edition, until now. The Polonaise in A major was composed approximately at the same time as the Violin Concerto No. 2 in D minor3. This convergence in time had influenced a certain similarity with regard to both composition and technical means, and also to the themes. In particular, the similarity becomes quite obvious in the second theme of the Allegro in the Concerto, and in the theme of the Polonaise. The Polonaise in A major is also in a certain way similar to the first Polonaise (in D minor), the motifs of the themes in both polonaises are alike. However, both pieces differ in style. The Polonaise in D minor shows the composers fascination with technical writing. Wieniawski makes the most of double-stops, chords, and all other sophisticated virtuoso techniques. The Polonaise in A major, written 18 years later, is much more mature. Although it is a virtuosic piece as well, the techniques used are somewhat more limited and subordinated to the expression. The virtuoso character of this piece is more fragile, much closer to the brillant style. At the same time, the Polonaise is typical of Wieniawskis violin playing technique. Here the composer uses the means regarded by his contemporaries to be typical of him, e.g., long staccato fragments played with one bow. The Polonaise is a concert piece in one movement extended form with a considerably abbreviated return of the first section at the end. The middle section is contrasting in character, due to the modulation to F major, change of tempo (meno mosso) and the reduction in the number of instruments (in the orchestral version). All the sections show thematic similarity. The first section, too, consists of three subsections, including a contrasting middle subsection (in E major). Zofia Chechlińska Footnotes 1. See The Critical Commentary, p. ? and onward. 2. See V. Grigoriev, Henryk Wieniawski. Życie i twórczość. [Life and Work] Warszawa - Poznań 1986, p. 184. 3. The first version of the Concerto No. 2 in D minor was completed in 1862, but in 1870, i.e., not until the Polonaise in A major was completed, Wieniawski had been working on the Concerto and implemented quite a few changes. Publisher: PWM/Towarzystwo Muzyczne im. Henryka Wieniawskiego w Poznaniu Series: Henryk Wieniawski - Complete Works Cover: softback Nr ISMN: 979-0-2740-0753-9 Number of pages: 34+8 Format: N4 stoj. 235x305 Language version of text: pol., Eng.

The long-awaited third volume of the much-loved and often used fake book series. Includes choice standards, motown and pop classics, Blue Note and jazz classics, and even contemporary tunes with no duplication of tunes from Volumes 1 or 2. / Instruments En Do

The bass recorder brings a deep rich timbre to the recorder ensemble. Nevertheless when beginning with the bass recorder even players who have already mastered one or more instruments of the recorder family face the problem of learning a new clef and feeling at home with an instrument which is different from the other recorders in its shape and handling. The Bass Recorder Workshop is a 'hands-on' tutor which helps players acquire the bass recorder skills necessary for refined ensemble playing step by step. The bass recorder is incorporated into the ensemble from the beginning. The degree of difficulty in the bass line gradually increases in terms of tone quality rhythm andtechnical demands. The Bass Recorder Workshop consists of consecutive volumes with music for three to five voice recorder ensembles as well as exercises and information on the following subjects: o the bass recorder - construction instrument types historical background o technical foundations of bass recorder playing posture fingering sound and articulation o practise and rehearsal techniques intonation in ensemble playing o stylistically diverse ensemble repertoire ranging from medieval to contemporary music The Bass Recorder Workshop offers the possibility of playing the bass line of the ensemble pieces along with the CD included. The audio examples come in two versions: the full versions are complemented by versions without the bass line which can be used to play along with. Beginners who would like to start with the bass as their first recorder instrument should supplement the Bass Recorder Workshop with lessons from a teacher. Learning the bass recorder whilst playing in an ensemble continues in this 3rd volume of Workshop Bassblockflöte. Greater emphasis is placed on the techniques of refining sound quality 2 and 3 part arrangements and playing not only the bass voice but also the middle or even the melodic line. The enclosed CD recorded by the editors Irmhild Beutler

Par SIBELIUS JEAN. After preparing his Scenes historiques op. 66 for print in spring 1912, Sibelius had many grand plans but had to turn towards more profitable piano works first, due to his financial situation. Within only one month, he wrote the Three Sonatinas op. 67 in June 1912, which were published by Breitkopf already in November the same year. Although by his own accounts he did not like writing for piano and only doing it for income, he told in 1948 Erik Tawaststjerna that he regarded the Sonatinas among his best chamber music and considered them equal to his string quartet ?Voces intimae?. / Date parution : 2022-11-04/ Recueil / Piano

This set of three CDs captures Rev. Davis at home and church - teaching talking and philosophizing. The first two CDs are material recorded at his Bronx home. Religious songs folk tunes blues rags and memories are included. The music ranges from the heavenly to the bawdy and the third CD features a recorded service where Rev. Davis plays and delivers sermons.Disc One (At Home):1. Twelve Sticks 3:472. Sally Where’d You Get Your Liquor From 1:523. Babylon Is Falling 6:364. What Could I Do 3:235. Children of Zion 7:056. Hesitation Blues 4:057. Candyman (on 5 String Banjo) 1:238.Steal Away And Pray 5:369. Goin’ To Chattanooga 5:0210. Packing Up Get Ready To Go 3:3711. Untitled 0:3912. You Cry Because I’m Leaving 4:1613. Don’t Let My Baby Catch You Here 5:1414. Lord Let Me Live Longer 2:2115. I Want To be Saved 2:4716. Waltz Time Candyman 3:1717. Little Boy Who Made Your Britches 4:3818. Talks about Verses Not Sung 2:2119. C Rag 5:4120. Two Step Candyman 2:51Disc Two (At Home):1. Piece Without Words 3:512. Lord Search My Heart 4:053. Slippin’ To My Gal Comes In Partner 2:564. Sun is Going Down 2:445. Raise A Ruckus Tonight 2:146. Save Up Your Money John D. Rockefeller Put the Panic On 5:597. Soon My Work Will All Be Done 3:578. You’re Gonna Need King Jesus 2:449. I’m Going Back To Jesus 2:0210. Blues in C 5:1211. Saddle It Around 3:0012. People Who Use To See 4:5213. Italian Rag 3:1614. Candyman 4:2415. Nobody Don’t Care For Me 3:1216. Fox Chase 4:5117. Talk on Blind Boy Fuller 9:39Disc Three (In Church):1. Amazing Grace 3:262. Sermon 3:113. I’m a Soldier In The Army Of The Lord

Par HAUSCHKA. Featuring songs by the renowned composer and master of the prepared Piano Volker Bertelmann, AKA Hauschka, Solo Pieces is a wonderful compilation of some of his most beautifully engrossing and hypnoticcompositions, as well as some fantastic illustrations and writings. A unique figure in the contemporary classical world, Hauschka\'s works defy categorisation while remaining uniquely effective. Knownfor his prepared Piano pieces, Hauschka writes that he considers the Piano a keyboard, string and percussion instrument, thereby opening its sonic possibilities to include diverse timbres, tones and textures.Somesongs in Solo Pieces are for natural Piano, but others include instructions on how to prepare your own Piano, using everyday materials like foil, greaseproof paper, rubber wedges orerasers. The spirit of Solo Pieces is experimentation, something that Hauschka has always embraced. You don\'t need to prepare your Piano, or you could use differentmaterials to create a unique performance of the work. Some of the pieces like One Wish feature wonderfully metallic buzzing sounds that complement the changing dynamics of the piece, while others like Early InThe Park have unique tinkling percussive effects, adding completely new facets to the already evocative melodies. Far from being simply a collection of Hauschka sheet music,this book is a wonderfully inviting publication, featuring introductory words from Hauschka on his inspirations and processes, as well as notes on his favourite materials throughout. Also included are interestingpieces like short stories, letters and fantastic sketches that are fitting for a personality and artist like Hauschka. This book of Hauschka sheet music is ideal for fans of the inventive composer, but alsopianists who looking for some new and unique music to play. Solo Pieces by Hauschka is both a collection of excellent Piano pieces and an aesthetically pleasing / Date parution : 2022-09-15/ Recueil / Piano

Opera in three acts-Lotario HWV 26Opera in three actsHandel???s opera Lotario was first heard at the King???s Theater in the Haymarket on 2 December 1729 and had a run of nine performances. Though never revived in the composer???s lifetime Handel reused many of its arias in his later operas sometimes altering the words.The historical background of the plot is the conflict between Otto I (912 973) and Berengar of Ivrea for the Italian crown and Otto???s marriage to the Italian queen Adelaide in 951. In the course of composition the name of the hero (???Ottone??? in Salvi???s libretto) was altered to ???Lotario??? since Handel had already written an opera entitled Ottone on thelife of Otto II (955 983) in 1722.The vocal score contains the version composed for the performances of December 1729 and January 1730. It is based on the Urtext of the Halle Handel Edition.- Urtext of the Halle Handel Edition.- Full score (BA4074) and vocal score (BA4074-90) available for sale.- Performance material (BA4074-72) available for hire

Blueprint for the Exceptional Choral Program-Excellence is not something stumbled upon by accident. You won't achieve great things while flailing about in paperwork nor partake of true musical artistry by folly. Success requires a concrete plan of action: a big-picture planfollowed by all the little details that together create a complex mosaic that forms a beautiful and intricate picture of choral excellence. This practical text offers a wealth of information for running a choral program. The twosuccessful veteran teachers offer advice for dozens of solutions to issues facing the choral director. Includes a CD-ROM of bonus material an introduction by Paul Salamunovich and these chapters:1. GET READY...The Calendar for the Year The Choir Handbook.2. GET SET... Preparing for Class Herhearsal Structure and Techniques Selecting Literature Blueprint for Teaching Choral Literature Effective ClassroomManagement.3. GO! Conducting Concert Dos and Don'ts Memorization Contests and Festivals Programming Themes and Variations Enrichment Opportunities for Students The Blessing of Added Extras IdentifyingProspective Audiences.4. AFTER ALL THEY DO CALL YOU A TEACHER! Grading Policies Paperwork Teaching Sight-Reading and Music Literacy.5. TAKING CARE OF BUSINESS Copyright Law for the Choral Director The Art of the Interview Teacher Observations and Evaluations Professional Resources.6. HOW TO GET ALONG AND PLAY WELL WITH OTHERS Building Your Support System The Recruitment and Retention of Choir Students Effective Publicity and Public Relations.HOW TO DO STUFF Fund-Raising Uniforms Music Library Organization and Maintentance.8. HOW TO KEEP THE TAIL FROM WAGGING THE DOG Show Pop Jazz and SwingChoirs Chamber Singers and Madrigal Groups.9. WHO SAYS CHOIR IS BORING? Choir Traditions Fun and Games Trips Tours Parties and Banquets.10. ALL THE REST THAT'S FIT TO PRINT... Topics Overlookedin MusEd 101 The Great Miscellany of It All.11. VAULTING INTO THE BIG LEAGUES VIPs of the Profession “You Are Cordially Invited...” International TravelEpilogue Table of Contents for CD

The Well-Tempered Clavier Part I-The Well-Tempered Clavier was the title given to the book of twenty-four preludes and fugues in all the major and minor keys which was composed and compiled during Bachâ??s appointment in Kothen in 1722. Bach later wrote afurther twenty-four preludes and fugues and so the forty-eight preludes and fugues eventually became collectively known as the Well-Tempered Clavier Parts 1 And 2.Bach composed the Well-Tempered Clavier Part1 â??for the profit and use of musical youth desirous of learning and especially for the pastime of those already skilled in this study.â?? Even today these forty-eight preludes and fugues remain a necessity to all advancingpianists wishing to develop secure and perfect technique and technical control.The Well-Tempered Clavier is a major work of great breadth and depth and musical aesthetic and psychological diversity andcomplexity. This Urtext edition edited by Ernst-Gunter Heinemann and fingered by Andras Schiff provides you with an accurate realisation of the composerâ??s original intentions with thorough and detailed editorial markings andsuggestions.

Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.