Book/Online Audio Anglo Concertina; Concertina SKU: HL.286506 For 20- ...(+)
Book/Online Audio Anglo
Concertina; Concertina
SKU: HL.286506
For 20- and 30-Button
Instruments.
Instructional.
Instruction, Method.
Softcover Audio Online.
48 pages. Published by
Hal Leonard (HL.286506).
ISBN 9781540040237.
UPC: 888680896942.
9.0x12.0
inches.
The Hal
Leonard Anglo Concertina
Method is designed for
anyone just learning to
play a 20- or 30-button
Anglo concertina. This
comprehensive beginner's
guide gives students an
overview of the
instrument, including
proper playing technique
and button orientation.
From there, it moves to
easy applications in
music reading and
fingering considerations.
Using familiar melodies
and popular Irish tunes,
this easy-to-use guide
will get you playing like
a pro in no time! Lessons
include over twenty
lessons and audio tracks
along with: detailed
button charts for each
song; reading standard
music notation;
Wheatstone and Jeffries
fingerings; 20-button
considerations; holding
the concertina; using the
air button; example
recordings, and more.
Audio is accessed online
using the unique code
inside the book and can
be streamed or
downloaded. The audio
files include PLAYBACK ,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
2 Pianos, 4 Hands; Piano Duet - intermediate to advanced SKU: HL.49013049 ...(+)
2 Pianos, 4 Hands; Piano
Duet - intermediate to
advanced
SKU:
HL.49013049
For 2
Pianos/4 Hands.
Composed by Istvá,
n Szelé, and nyi.
Edited by Laszlo
Szelenyi. This edition:
Saddle stitching. Sheet
music. Edition Schott. I.
Szelenyi schrieb das
Concertino im Jahre 1964.
Das nicht allzuschwere,
musikantische Stucke hat
zwei Satze (Tranquillo -
Vivace).Zum 100.
Geburtstag von I.
Szelenyi am 8. 8. 2004.
Classical. 2 copies
needed for performance.
Composed 1964. 52 pages.
Schott Music #ED 9568.
Published by Schott Music
(HL.49013049).
ISBN
9790001134064. UPC:
073999351798.
9.0x12.0x0.191
inches.
This work
by Kodaly's pupil
Szelenyi, published here
for the first time, might
be seen as something
approaching the Romantic
piano concerto without
orchestra. Even the
Fugato in this work seems
to point to the Romantic
tradition, recalling as
it does Liszt's Sonata in
B minor. The varied
interplay between
dramatic and lyrical
moods is richly
inventive. This
Concertino offers (young)
piano soloists the
opportunity to mount the
podium as an aspiring
virtuoso, accompanying a
second part that
demonstrates symphonic
pretensions. The two
players are evenly
matched in musical terms
in the dialogue between
the two pianos.
Violin and Piano - early intermediate SKU: BT.DHP-1043625-404 Composed by...(+)
Violin and Piano - early
intermediate
SKU:
BT.DHP-1043625-404
Composed by Alexei
Janschinow. De Haske
Study and Play.
Educational Tool. Book
with Part and
Audio-Online. Composed
2021. 16 pages. De Haske
Publications #DHP
1043625-404. Published by
De Haske Publications
(BT.DHP-1043625-404).
ISBN 9789043161763.
9x12 inches.
English-German-French-Dut
ch.
Study and
Play is ideal for
developing your playing
in an enjoyable and
musically sound way. Each
edition within this
concept features audio
recordings to add
something extra to your
study routine.When you
play
thisConcertino you
will be able to practise
at a slower study tempo,
as well as the normal
tempo, so that you can
work on your violin
playing in a more
concentrated way whilst
improving your insight
into the music. You
cancontinue to study in
this goal-orientated way
until you have achieved
the desired result.
The title of this piece
suggests a concert
situation: playing a solo
partwith accompaniment.
There are thousands of
such works for theviolin
but many of these cannot
be tackled until you have
been playing for a
considerable time.
Concertino in Russian
Style Opus 35 enables
you to gain necessary
experience for this type
of playing: namely having
sufficientmusical and
technical control over
your instrument whilst
having the support of an
accompanist during
performance. This
carefully chosen
concertino will enrich
your repertoire.
St
udy and Play ist das
ideale Konzept, um auf
vergnügliche und
sinnvolle Weise ein gutes
Spiel zu entwickeln.
Jedem Buch mit diesem
Konzept sind
Begleitaufnahmen
beigefügt, welche
die tägliche
ÃÅbungsroutine
individuellergänze
n. Mit Hilfe dieser
Aufnahmen kann das
Concertino im
langsameren
ÃÅbetempo sowie
auch im normalen Tempo
gespielt werden, sodass
man sich zunächst
ganz auf das Violinspiel
konzentrieren kann und
dabei die Musik
kennenlernt. So kann
zielgerichtet
geübt werden, bis
das gewünschte
Ergebnis erreicht
wird.
Der Titel dieses
Stückes beschreibt
die Situation in einem
Konzert: Es wird ein Solo
mit Begleitung gespielt.
Solche Werke gibt es
zutausenden für
Violine, viele
können jedoch erst
nach vielen Jahren
Spielerfahrung gemeistert
werden. Mit Concertino
in Russian Style Opus
35 kann man wichtige
Erfahrungen mit genau
dieser Art des Spiels
sammeln,
nämlichausreichend
musikalische und
technische Beherrschung
über das
Instrument zu erlangen
und gleichzeitig mit der
Unterstützung
eines Pianisten spielen
zu können. Dieses
sorgfältig
ausgewählte
Concertino ist auf
jeden Fall
eineBereicherung Ihres
Repertoires.
Study and
Play è il
concetto ideale per
sviluppare il vostro modo
di suonare in un contesto
piacevole e solidamente
strutturato. Le
registrazione di
accompagnamento vi
permettono di suonare sia
a tempo normale che
più lento,al fine
di migliorare la
concentrazione sullo
studio della tecnica e
avere un migliore
approccio con le varie
parti del brano. Le parti
dellââ¬â¢accom
pagnamento al pianoforte
incluse nelle
pubblicazioni (versione
cartacea) vipermettono di
suonare con un pianista
accompagnatore.
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F).
ISBN
9781491131749. UPC:
680160680276.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
Edited by Paul Stewart Cranford. Arranged by Melissa Emmons and Brenda Stubbert....(+)
Edited by Paul Stewart
Cranford. Arranged by
Melissa Emmons and Brenda
Stubbert. For Fiddle.
Perfect binding, Solos.
Cranford Publications.
Canadian-Maritime.
Intermediate. Book. 72
pages. Published by
Cranford Publication
Composed by
Nigel Goldberg. String
music. Clifton Edition
#C544. Published by
Clifton Edition
(ST.C544).
ISBN
9790570815449.
Student Violin part with
either teacher (as violin
duets) or with piano
accompaniment (Vln &
Pno).
This bumper
volume incorporates the
three separate former
publications from Spartan
Press, the series called
'Concertinos in the Olden
Style'
(SP1121–3). Piano
accompaniments by Heidi
Rolfe.
Nigel
Goldberg
writes:
I can
still remember the thrill
I felt as a child of 8
when my violin teacher
introduced me to my first
concertino. Learning,
playing and eventually
mastering the famous
Küchler Concertino in D
major made me feel
privileged and grown-up,
as if I were joining a
very special
club.
Tha
t was a long time ago,
yet for me concertinos
still hold a distinctive
place in the teaching
repertoire. Having now
taught the violin for the
last thirty years and
seen how happily my
pupils respond to
learning duets - that
distinctive sense of
enjoyment at playing with
an adult, the improvement
of intonation and tone
production, the
liveliness of the lesson
- I have composed three
new concertinos, inspired
by the duet
form.
Tak
ing three great keys for
the violin – G, D and A
minor, I have endeavoured
to combine emotionally
engaging and technically
educational music in the
'Olden Style'. Uniquely,
I have written a second
violin part for the
teacher to play alongside
their pupil's part and
there is also a piano
accompaniment for use
alternatively in concert
settings.
I very much hope that
these concertinos prove
as popular and as helpful
as the series of duets in
my previously published
books, Sounds of a
Rainbow and, that they
ignite that sense of
wonderment and purpose I
experienced while playing
the Kuchler, all those
years
ago.
Orchestra Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score SKU...(+)
Orchestra Str (4 Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score
SKU:
AP.36-A793402
Arranged by Unico Wilhelm
Van wassenaer and
ed./arr. by Fritz Rikko.
String Orchestra. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A793402.
Published by
LudwigMasters
Publications
(AP.36-A793402).
UPC:
659359748073.
English.
The six
CONCERTI ARMONICI was
long thought to be the
work of the
violinist-impresario
Carlo Ricciotti or
composer Giovanni
Battista Pergolesi, but
more recent research has
revealed the composer to
be Unico Wilhelm van
Wassenauer (1692-1766).
Born into a wealthy Dutch
family, the diplomat and
composer founded a
Collegium musicum in The
Hague under the oversight
of Ricciotti. Composed
between 1725 and 1740,
the six concertos have
been falsely attributed
to a variety of
contemporaries, Ricciotti
and Pergolesi amongst
them, since its anonymous
publication. Wassenauer's
aristocratic background
was the reason for his
secretiveness. The
sentiment of the time
ordained that musicians
belong to the lower
classes. This edition of
CONCERTINO No. 2 (also
CONCERTO ARMONICO in G
Major, CONCERTO IV, or
just CONCERTINO in G),
drawing from the CONCERTO
ARMONICO in G Major, IUW
3, was edited by 20th
century Baroque expert
Fritz Rikko. Rikko
spuriously attributes the
work to Pergolesi.
Despite Wassenauer's
authorship having since
been confirmed, Rikko's
original editorial notes
have been retained.
Instrumentation: Str (4
Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Orchestra Str (4 Vn parts [2.2.2.2].3.2.2): Harpsichord Continuo in score SKU...(+)
Orchestra Str (4 Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score
SKU:
AP.36-A793401
Arranged by Unico Wilhelm
Van wassenaer and
ed./arr. by Fritz Rikko.
String Orchestra. Kalmus
Orchestra Library. Score.
LudwigMasters
Publications #36-A793401.
Published by
LudwigMasters
Publications
(AP.36-A793401).
ISBN
9798892704922. UPC:
659359746130.
English.
The six
CONCERTI ARMONICI was
long thought to be the
work of the
violinist-impresario
Carlo Ricciotti or
composer Giovanni
Battista Pergolesi, but
more recent research has
revealed the composer to
be Unico Wilhelm van
Wassenauer (1692-1766).
Born into a wealthy Dutch
family, the diplomat and
composer founded a
Collegium musicum in The
Hague under the oversight
of Ricciotti. Composed
between 1725 and 1740,
the six concertos have
been falsely attributed
to a variety of
contemporaries, Ricciotti
and Pergolesi amongst
them, since its anonymous
publication. Wassenauer's
aristocratic background
was the reason for his
secretiveness. The
sentiment of the time
ordained that musicians
belong to the lower
classes. This edition of
CONCERTINO No. 2 (also
CONCERTO ARMONICO in G
Major, CONCERTO IV, or
just CONCERTINO in G),
drawing from the CONCERTO
ARMONICO in G Major, IUW
3, was edited by 20th
century Baroque expert
Fritz Rikko. Rikko
spuriously attributes the
work to Pergolesi.
Despite Wassenauer's
authorship having since
been confirmed, Rikko's
original editorial notes
have been retained.
Instrumentation: Str (4
Vn parts
[2.2.2.2].3.2.2):
Harpsichord Continuo in
score.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Oother solo insts. and orchestra (solo: B-tbne - 2(picc).2.2.2 - 2.2.0.0 - timp....(+)
Oother solo insts. and
orchestra (solo: B-tbne -
2(picc).2.2.2 - 2.2.0.0 -
timp. str)
SKU:
BR.PB-33001
Urtext. Composed
by Christian Gottlieb
Muller. Edited by Nick
Pfefferkorn. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Romantic
period. Full score. 56
pages. Duration 15'.
Breitkopf and Haertel #PB
33001. Published by
Breitkopf and Haertel
(BR.PB-33001).
ISBN
9790004215821. 10 x 12.5
inches.
The present
Concertino in E-flat
major, Op. 5, was
composed especially for
the Leipzig trombone
virtuoso Carl Traugott
Queisser (1800-1846), to
whom the work is also
dedicated. The Concertino
was first reviewed by the
critic Gottfried Wilhelm
Fink (1783-1846) in the
Leipzig Allgemeine
Musikalische Zeitung
(AMZ), issue no. 38,
September 1832. The
critic discussed the work
in detail, calling it a
milestone of the trombone
literature, ... its
public performance should
thus be determined by
only true masters. The
rest, however, may wish
to utilize it, in
silence, that is not
overheard by expectant
listeners, to strive with
it to strengthen their
powers....The
Concertino's premiere can
be dated to 1828, with
Queisser himself as
soloist, and the composer
conducting. Queisser
repeatedly performed the
Concertino up to 1843.
The work was published
under catalogue number
5227 in 1832 by Breitkopf
& Hartel. Sometime in the
1940s the work was lost
to sight and no
performances known to
come from then. Together
with the Concertino, Op.
4, later composed by
Ferdinand David, Muller's
contribution to this
genre is among the most
often played and most
demanding of the trombone
literature. The score
includes, besides a
preface detailing the
work's genesis and
reception history, also
facsimile pages to round
out the edition. You may
browse our piano vocal
score here.
Trombone and 1 other inst. (solo: B-tbne - 2(picc).2.2.2 - 2.2.0.0 - timp. str) ...(+)
Trombone and 1 other
inst. (solo: B-tbne -
2(picc).2.2.2 - 2.2.0.0 -
timp. str)
SKU:
BR.EB-33001
Urtext. Composed
by Christian Gottlieb
Muller. Edited by Nick
Pfefferkorn. Arranged by
Gunter (KA) Ludwig. Solo
instruments; stapled.
Edition Breitkopf.
Romantic period. Piano
reduction. 32 pages.
Duration 15'. Breitkopf
and Haertel #EB 33001.
Published by Breitkopf
and Haertel
(BR.EB-33001).
ISBN
9790004186800. 9 x 12
inches.
The present
Concertino in E-flat
major , Op. 5, was
composed especially for
the Leipzig trombone
virtuoso Carl Traugott
Queisser (1800-1846), to
whom the work is also
dedicated. The Concertino
was first reviewed by the
critic Gottfried Wilhelm
Fink (1783-1846) in the
Leipzig Allgemeine
Musikalische Zeitung
(AMZ), issue no. 38,
September 1832. The
critic discussed the work
in detail, calling it a
milestone of the trombone
literature, ... its
public performance should
thus be determined by
only true masters. The
rest, however, may wish
to utilize it, in
silence, that is not
overheard by expectant
listeners, to strive with
it to strengthen their
powers.... The Concertino
's premiere can be dated
to 1828, with Queisser
himself as soloist, and
the composer conducting.
Queisser repeatedly
performed the Concertino
up to 1843. The work was
published under catalogue
number 5227 in 1832 by
Breitkopf & Hartel.
Sometime in the 1940s the
work was lost to sight
and no performances known
to come from then.
Together with the
Concertino , Op. 4, later
composed by Ferdinand
David, Muller's
contribution to this
genre is among the most
often played and most
demanding of the trombone
literature. The score
includes, besides a
preface detailing the
work's genesis and
reception history, also
facsimile pages to round
out the edition. You may
browse our piano vocal
score here.
Indian Concertino Violon [Partition + CD] - Facile De Haske Publications
Composed by George Perlman. De Haske Study and Play. Book with CD. Composed 20...(+)
Composed by George
Perlman.
De Haske Study and Play.
Book
with CD. Composed 2005.
24
pages. De Haske
Publications
#DHP 1053792-400.
Published
by De Haske Publications
Violin - intermediate SKU: BT.DOW-04024-400 Op. 21 in A-minor. Dow...(+)
Violin - intermediate
SKU:
BT.DOW-04024-400
Op. 21 in A-minor.
Dowani 3 Tempi Play
Along. Educational Tool.
Set of Books and Media.
Dowani #DOW 04024-400.
Published by Dowani
(BT.DOW-04024-400).
ISBN 9783905479812.
International.
DOWA
NI 3 Tempi Play Along is
an effective and
time-tested method of
practicing that offers
more than conventional
play-long editions.
DOWANI 3 Tempi Play Along
enables you to learn a
work systematically and
with accompaniment at
different tempi.The first
thing you hear on the CD
is the concert version in
a first-class recording
with solo instrument and
orchestral, continuo, or
piano accompaniment. Then
the piano or harpsichord
accompaniment follows in
slow and medium tempo for
practice purposes, with
the solo instrument heard
softly in the background
at slow tempo. Finally,
you can play at the
original tempo to the
accompaniment of an
orchestra, piano, or
basso
continuo.Allversions
appearing on the CD were
recorded live by renowned
soloists, accompanists,
and orchestras. There are
no synthesised sounds in
a DOWANI edition!
Concertino Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114419180 For Flute and Piano. ...(+)
Chamber Music flute,
piano
SKU:
PR.114419180
For
Flute and Piano.
Composed by Daniel Dorff.
Set of Score and Parts.
With Standard notation.
24+12 pages. Duration 10
minutes, 45 seconds.
Theodore Presser Company
#114-41918. Published by
Theodore Presser Company
(PR.114419180).
ISBN
9781491114346. UPC:
680160673285. 9 x 12
inches.
Composed
for Jasmine Choi’s
premiere on the 2018 NFA
concerto gala,
Dorff’s
CONCERTINOis a 10-minute
showpiece full of flash
and theatricality,
elegantly balanced with
beauty and lyricism.The
work is fully suitable
for flute and piano
recitals, while the
orchestral version is
easy to program,even when
rehearsal time is
limited.
Concert Time Saxophone Alto et Piano [Partition + CD] - Intermédiaire De Haske Publications
Alto Saxophone, Piano Accompaniment - intermediate SKU: BT.DHP-1074419-400(+)
Alto Saxophone, Piano
Accompaniment -
intermediate
SKU:
BT.DHP-1074419-400
Recital pieces - with
piano accompaniment.
Composed by Various. Book
with CD. Composed 2008.
52 pages. De Haske
Publications #DHP
1074419-400. Published by
De Haske Publications
(BT.DHP-1074419-400).
ISBN 9789043154185.
9x12 inches.
English-German-French-Dut
ch.
The pieces in
Concert Time are fun and
varied: they have been
written in diverse
styles, and different
time signatures are
featured. The piano
accompaniments are
included, especially for
live performances. The
accompaniments are also
on the CD - played on a
real grand piano. There
is a demo version of each
piece as well. This book
will undoubtedly lead to
success on stage!
De
voordrachtstukken in
Concert Time,
gecomponeerd door
hedendaagse componisten,
bieden speelplezier en
variatie: ze zijn
geschreven in diverse
stijlen en er komen
verschillende maat- en
toonsoorten aan bod. De
pianobegeleidingenzijn
meegeleverd, speciaal
voor liveoptredens. Ze
staan ook op de cd,
verder is er van elk stuk
een voorbeeldversie te
beluisteren. Dit boek
leidt ongetwijfeld tot
succes op het podium!
Inhoud: Chameleon Walk
Jolly JumperSentimental
Tune Baroque Concertino
e.a.
I brani di
Concert Time sono
variegati e divertenti:
sono scritti in diversi
stili, e sono proposti in
ritmi diversi. Le parti
del piano sono incluse
per permettervi di
suonare in pubblico. Sul
CD sono registrati gli
accompagnamenti di un
vero piano a coda.
Troverete una versione
demo di ogni brano.
Questa pubblicazione è
indispensabile per
trovare il successo sul
palco.
For Horn and Piano Reduction. Composed by Carl Maria von Weber (1786-1826). E...(+)
For Horn and Piano
Reduction. Composed by
Carl
Maria von Weber
(1786-1826).
Edited by Dominik Rahmer.
Sheet Music. Paperbound.
Henle Music Folios. With
additional Horn part in E
und F. Classical.
Softcover
Piano Reduction. 44
pages.
G. Henle #HN1179.
Published
by G. Henle
Chamber Music English Horn, Piano SKU: PR.114417250 For English Horn a...(+)
Chamber Music English
Horn, Piano
SKU:
PR.114417250
For
English Horn and
Orchestra. Composed
by Gaetano Donizetti.
Edited by Mark Biggam
Pedro Diaz. Sws each. See
the Historical Notes by
Michael Finkelman on the
second and third pages.
Romantic. Set of Score
and Parts. With Standard
notation. 16+8 pages.
Duration 12:30. Theodore
Presser Company
#114-41725. Published by
Theodore Presser Company
(PR.114417250).
ISBN
9781491110928. UPC:
680160631469. 9x12
inches. Key:
F.
Concertino in
FÂ for English Horn and
OrchestraPreviously known
only through a spurious
edition in G Major, the
authentic Concertino in F
was recently discovered
in Italy by Pedro Diaz,
English Hornist of the
Metropolitan Opera
Orchestra. Diaz prepared
this ground-breaking
authentic edition through
comparison of the
multiple historical
sources and an intimate
knowledge of Donizetti's
works. The new edition in
F Major is embellished
with footnotes regarding
sources and
ornamentation. The piano
reduction and orchestral
score and parts
(available on rental)
were prepared by
composer/oboist Mark
Biggam in tandem with
Diaz's work, and the
publication includes
extensive historical
notes by scholar Michael
Finkelman. PEDRO DIAZ
joined The Metropolitan
Opera Orchestra in 2005
and has performed as solo
English Hornist in
hundreds of productions.
As a sought after
teacher, Mr. DÃaz has
lectured extensively at
top music conservatories
including The Juilliard
School, The Manhattan
School of Music, The
Eastman School of
Music,The Hartt Music
School, and Duquesne
University. His
international appearances
include masterclasses in
Panama, Italy, Mexico,
Canada, Puerto Rico,
Leipzig, Berlin, and
Italy.A native of Puerto
Rico, he received his
early musical training in
the “Escuela Libre
de Musica,†an
esteemed public school
for the performing arts.
He has performed as a
guest artist with the
Chicago Symphony, New
York Philharmonic, and
many other leading
ensembles. His playing
has been hailed by
critics as evocative,
eloquent and expressive
and is considered one of
the pre-eminent players
of his generation. Mr.
DÃaz has performed
Wagner’s Tristan
und Isolde 24 times under
the batons of James
Levine, Daniel Barenboim,
and Sir Simon
Rattle.Pedro
DÃaz’s
recording of the
Donizetti Concertino in F
and other concerti is
available from Fox
Products and online
sources, performed with
members of the
Metropolitan Opera
Orchestra. MARK
BIGGAM’s
compositions have been
recognized in various
venues throughout the
United States, Central
America, Asia, and
Europe. He has received
awards from ASCAP and the
Cleveland Foundation. An
oboist himself, many of
Biggam’s
compositions have been
performed by notable
oboists and English Horn
players including John
Mack, Joseph Robinson,
Pedro DÃaz, Carolyn
Hove, and Dwight Parry.
Premieres of his works
have been featured at
events including the
International Double Reed
Society and John Mack
Legacy
Camp.Biggam’s
choral works have gained
recognition, awards, and
commissions from
organizations including
the Moravian Music
Foundation, Ohio
BoyChoir, and Triad Pride
Men’s Chorus. He
also has published
arrangements and piano
reductions of J.S.
Bach’s music for
Bärenreiter-Verlag.
His collaborations with
Pedro DÃaz include the
Donizetti Concertino in F
as well as works of the
lesser-known composers
Pilotti and Mares,
recorded by Mr. Diaz and
members of the
Metropolitan Opera
Orchestra. Biggam has
alsoprepared arrangements
and settings of works for
symphonic band, which
have been performed by
the Piedmont Wind
Symphony.
C Major. Composed by Ludwig van Beethoven (1770-1827). Edited by Helmut W...(+)
C Major. Composed
by Ludwig van Beethoven
(1770-1827). Edited by
Helmut W. May. Sheet
music. Concertino
(Chamber Orchestra). Set
of supplemental string
parts. Op. 43. 22 pages.
Duration 5'. Schott Music
#CON 21-60. Published by
Schott Music
(HL.49001943).