(With Marked and Unmarked String Parts). By Gabriel Faure (1845-1924). Edited by...(+)
(With Marked and Unmarked
String Parts). By Gabriel
Faure (1845-1924). Edited
by Jean-Christophe
Monnier. For Cello, Piano
Accompaniment (Score and
Solo Part). Henle Music
Folios. Softcover. 8
pages. G. Henle #HN563.
Published by G. Henle
Cello and Piano. Composed by Gabriel Faure (1845-1924). Edited by Fabian Kolb....(+)
Cello and Piano. Composed
by
Gabriel Faure
(1845-1924).
Edited by Fabian Kolb.
Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1357.
Published by G. Henle
(Viola and Piano). Composed by Gabriel Faure (1845-1924). Arranged by Wolfgang B...(+)
(Viola and Piano).
Composed by Gabriel Faure
(1845-1924). Arranged by
Wolfgang Birtel. For
Viola, Piano
Accompaniment. String.
Softcover. 10 pages.
Schott Music #ED09962.
Published by Schott Music
Composed by Gabriel Faure (1845-1924). Edited by Jean- Pierre Bartoli. This e...(+)
Composed by Gabriel Faure
(1845-1924). Edited by
Jean-
Pierre Bartoli. This
edition:
complete edition, urtext
edition. Cloth bound.
Gabriel
Faure. OEuvres completes
VI/3. Complete edition,
Performance score,
anthology.
Opus 84, 32, 17.
Baerenreiter
Verlag #BA09471-01.
Published
by Baerenreiter Verlag
Cello and Piano SKU: IM.3829 Composed by Gabriel Faure. Edited by Jeffrey...(+)
Cello and Piano
SKU:
IM.3829
Composed by
Gabriel Faure. Edited by
Jeffrey Solow. Arranged
by Jeffrey Solow. Score
and Parts. International
Music Co. #3829.
Published by
International Music Co.
(IM.3829).
Written in his
later, more introspective
period, Faure's
three-movement sonata
features leaner textures
and idiosyncratic
harmonies.
Bass Clarinet and Piano SKU: IS.BCP7289EM Composed by Gabriel Faure. Arra...(+)
Bass Clarinet and Piano
SKU: IS.BCP7289EM
Composed by Gabriel
Faure. Arranged by Matt
Johnston. Woodwinds -
Bass Clarinet / Basset
Horn. Metropolis Music
Publishers #BCP7289EM.
Published by Metropolis
Music Publishers
(IS.BCP7289EM).
Flute Repertoire 5 Flûte traversière - Intermédiaire The Frederick Harris Music Company
Flute - Intermediate SKU: FH.FLR05 2010 Edition. Composed by The R...(+)
Flute - Intermediate
SKU: FH.FLR05
2010 Edition.
Composed by The Royal
Conservatory. Overtones:
A Comprehensive Flute
Series. Book/Piano
Accompaniment/CD. The
Frederick Harris Music
Company #FLR05. Published
by The Frederick Harris
Music Company (FH.FLR05).
ISBN
978-1-55440-293-9.
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
repertoire and supporting
materials such as
Studies, Compact Discs,
Orchestral Excerpts, and
Technique. The richness
of music carefully
selected for this
compilation will resonate
with teachers and
students at every level
of study.This compilation
of standard orchestral
passages for flute is an
indispensable resource
for the developing years
and beyond. Teachers and
students will find this
unrivalled volume
essential for examination
or audition
preparation. Sonata in
F Major, op. 1, no. 11,
HWV 369, First movement
and Second movement
George Frideric Handel,
arr. Kathleen Wood
Sonata in D Major,
op. 21, no. 1, Second
movement Franz Anton
Hoffmeister, arr.
Kathleen Wood Sonata
in F Major, op. 1, no. 4,
First movement and Second
movement Jean-Baptiste
Loeillet (de Gant), arr.
Kathleen Wood Sonata
in F Major, TWV41:F2,
First movement and Second
movement Georg Philipp
Telemann, arr. Kathleen
Wood Sicilienne, op.
78 Gabriel Faure
Sonatina, First
movement and Second
movement Endre
Szervanszky I
conversed with you in a
dream, Fourth movement
Jocelyn
Morlock Seguidilla,
from Carmen Georges
Bizet, arr. Stephen
Chatman Lawn Tennis
Wilhelm Peterson-Berger,
arr. Goeran
Marcusson Capriccio-So
nata in A Major, Second
movement Anton Johann
Stamitz Echoes for
Solo Flute, Second
movement: Espressivo Maya
Badian Petite suite
pour flute, First
movement and Second
movement Srul Irving
Glick.
About
Overtones
Unparalleled in scope,
Overtones offers all the
music flutists want in
one complete series! This
progressive collection
includes fundamental
Repertoire and supporting
materials such as Etudes,
Compact Discs, Orchestral
Excerpts, and Technique.
The richness of music
carefully selected for
this compilation will
resonate with teachers
and students at every
level of study and is the
official series for those
using The Royal
Conservatory Music
Development program.
Saxophone Series, 2013
Edition. Composed by
The Royal Conservatory.
Saxophone Series, 2013
Edition. Book/CD. 52/28
pages. The Frederick
Harris Music Company
#WS5. Published by The
Frederick Harris Music
Company (FH.WS5).
ISBN
978-1-55440-554-1.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Mainly
Transcriptions: Sonata
, HWV 373 - attr. George
Frideric Handel, arr. Su
Jeon - First
Movement - Second
Movement Sonata in G
minor - Henri Eccles,
arr. Sigurd Rascher -
First Movement -
Second
Movement Sonata, TWV
41:G9 - Georg Philipp
Telemann - First
Movement - Second
Movement Mainly
Original Repertoire for
Saxophone: Nine Arias
- Timothy Broege - 3.
Aria senza
accompagamento - 9.
Aria fugata Nigun -
Srul Irving Glick
Take Five - Paul
Desmond, arr. Gary
Keller
Bb
Saxophone:
Mainly
Transcriptions: Sonata
in D Major, op. 2, no. 5
(La chauvet) - Michel
Blavet, arr. Jason Noble
- First Movement -
Second
Movement Sinfonia -
Nicolo Porpora, arr. Paul
Maynard - First
Movement - Second
Movement Mainly
Original Repertoire for
Saxophone: Sicilienne,
op. 78 - Gabriel
Faure March - William
Schmidt
Eb
Saxophone or Bb
Saxophone:
Unaccom
panied
Repertoire: Petite
Suite - Walter S.
Hartley - Second
Movement: Tango -
Third Movement:
Scherzo Six Exchanges
- Lothar Klein - Third
Movement - Fifth
Movement Fantasia no.
8 in E Minor, TWV 40:9 -
Georg Philipp
Telemann - Second
Movement - Third
Movement Fantasia no.
4 in B flat Major, TWV
40:5 - Georg Philipp
Telemann - Third
Movement.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
Cello Series, 2013
Edition. Composed by
The Royal Conservatory.
Cello Series, 2013
Edition. Book/CD. The
Frederick Harris Music
Company #VC5. Published
by The Frederick Harris
Music Company (FH.VC5).
ISBN
978-1-55440-541-1.
This inaugural edition of
the Cello Series offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
cellist. With an
expansive representation
of musical styles from
all eras, this series
addresses the need for a
single collection of
quality educational
materials to foster
musical development and
instill appreciation of
the richness and
diversity of music
written for cello.
Supporting a balanced
course of study, this
series organizes
repertoire into nine
volumes from the
Preparatory Level through
Level 8. Each level
offers music from a range
of styles and
compositional eras,
including standard
literature, new
arrangements of familiar
tunes, and music written
for cellists, by
cellists. These
selections provide the
flexibility to choose
pedagogically appropriate
material suited to each
individual, and to
motivate students to
fully develop their
musicianship and
technique. Concertos,
Sonatas, and
Suites: Concerto in D
Major, op. 213 -
Mendelssohn, Ludwig -
First Movement: Allegro
moderato Concertino
No. 1 in F Major -
Breval, Jean-Baptiste
arr. L.-R. Feuillard -
First Movement:
Allegro Suite in G
Major - Matz, Rudolf -
Fourth Movement -
Fifth Movement Sonata
in G Major - Bach, Johann
Christoph Friedrich arr.
Hugo Ruf - First
Movement:
Allegretto Sonata in C
Major - De Fesch, Willem
arr. Jason Noble -
First Movement:
Largo - Second
Movement:
Vivace Sonata -
Marcello, Benedetto arr.
Alfred Piatti - First
Movement: Largo -
Second Movement:
Allegro Sonata in F
Major, RV 41 - Vivaldi,
Antonio arr. Kathleen
Wood - First Movement:
Largo - Second
Movement:
Allegro Concert
Repertoire: O Canto Do
Cysne Negro -
Villa-Lobos,
Heitor Frogs Dancing
on Water Lilies -
Mustonen,
Olli Langsam, op. 102,
no. 2 - Schumann,
Robert When Music
Sounds - Coulthard,
Jean Wie einst in
schoener'n Tagen, op. 64,
no. 1 - Popper,
David Bourree, op. 24
- Squire, William
Henry Notturno, op.
59, no. 1 - Goltermann,
Georg Scherzo and Trio
- Reger, Max Lamento -
Faure, Gabriel Lied -
Rachmaninoff,
Sergei Unaccompanied
Repertoire: Capriccio
No. 5 - Matz,
Rudolf Ricercar No. 3
- Gabrielli,
Domenico Suite in C
Major - Matz, Rudolf -
Fourth Movement:
Sarabande - Seventh
Movement: Gigue Suite
No. 1 in G Major - Bach,
Johann Sebastian -
Third Movement:
Courante.