(Cd) SKU: HL.49042091 Composed by Renate Bruce-Weber. Recording mediums. ...(+)
(Cd)
SKU:
HL.49042091
Composed
by Renate Bruce-Weber.
Recording mediums.
Edition Schott. CD.
Schott Music #T 3272.
Published by Schott Music
(HL.49042091).
ISBN
9783795760038.
5.5x5.0x0.4
inches.
Bei der
Geigenschule Die
frohliche Violine steht
der Spass am Lernen im
Vordergrund: das Lehrwerk
zielt auf einen
spielerischen fruhen
Beginn mit dem
Instrument. Im weiteren
Verlauf des Unterrichts
werden die
heranwachsenden Schuler
dann bewusst in einer
Sprache angesprochen, die
ihrer Altersentwicklung
entspricht. Dazu gehort
auch ein stilistisch
vielfaltiges Angebot von
Spielstucken aus Klassik
und Folklore, und immer
wird allerlei
Wissenswertes uber die
Musik und ihre
Komponisten berichtet.
Band 1: Ausfuhrliche
Einfuhrung der
Bogenhaltung - Lieder und
Spielstucke unter
ausschliesslicher
Verwendung der ersten
Griffart, mit Schwerpunkt
auf rhythmischer,
melodischer und
bogentechnischer Vielfalt
- Spielerisches Ertasten
geigerischer
Spieltechniken wie z.B.
Pizzicato, Lagenspiel,
Flageolett und
Doppelgriffe.CD zu Band 1
(T 3272) mit allen
Liedern und Stucken, mit
lustigen, von Kindern
gesprochenen Dialogen.
Eine motivierende
Erganzung des Unterrichts
und eine schone
Geschenkidee!
Double bass SKU: BA.BA10418-85 Composed by Antonin Dvorak. Edited by Jona...(+)
Double bass
SKU:
BA.BA10418-85
Composed by Antonin
Dvorak. Edited by
Jonathan Del Mar. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. Opus
88. 12 pages.
Baerenreiter Verlag
#BA10418_85. Published by
Baerenreiter Verlag
(BA.BA10418-85).
ISBN
9790006564699. 32.5 x
25.5 cm inches. Key: G
major.
Mendelssohn'
s Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„Â
¢s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Bb
Clarinet. Essential
Elements. Instruction.
Softcover. 48 pages.
Published by Hal Leonard
(HL.863548).
ISBN
9780793569793. UPC:
073999635485.
9.0x12.0x0.125
inches.
Original
series (black cover)
Intermediate to advanced
studies featuring full
band chorales, chromatic
exercises and
articulation studies,
color woodwind trill
charts, a wide variety of
multicultural songs, and
much more. Authors: Tom
C. Rhodes, Donald
Bierschenk, Tim
Lautzenheiser.
About
Essential Elements Band
Method
Abo
ut Essential Elements
Band Method: Essential
Elements Band Method
provides a complete
system of books and
accompanying materials
that make the educator's
job easier, and the
students' learning more
thorough and enjoyable.
By Tom C. Rhodes, Donald
Bierschenk, Tim
Lautzenheiser, John
Higgens, Linda
Petersen.
AMA Flute 2000 Flûte traversière [Partition + CD] - Facile AMA Verlag
By Robert Winn. For Flute. Method. AMA Verlag. All Styles. Level: Beginning. Boo...(+)
By Robert Winn. For
Flute. Method. AMA
Verlag. All Styles.
Level: Beginning. Book/CD
Set. Size 9x12. 88 pages.
Published by AMA Verlag.
ISBN 3932587316.
Violon, Guitare (duo) [Partition] Alfred Publishing
(Selections from Suzuki Violin School Volumes 1, 2 and 3 for Violin with Guitar ...(+)
(Selections from Suzuki
Violin School Volumes 1,
2 and 3 for Violin with
Guitar Accompaniment). By
Thomas Heck. For Violin.
Duet or Duo; String
Ensemble (Suzuki). Book.
40 pages. Published by
Alfred Music Publishing
With Comments in English - for 2 Violins, 2 Violas and Violoncello. By Ludwig va...(+)
With Comments in English
- for 2 Violins, 2 Violas
and Violoncello. By
Ludwig van Beethoven.
Edited by S. Kurth. This
edition: HN267. String
Quintets. Henle Music
Folios. Pages: Vl I Part
= 61* Vl II Part = 37* Va
I Part = 35 *Va II Part =
33 * Vc Part = 30. Urtext
edition without
fingering-paper bound.
214 pages. Published by
G. Henle.
(Study Score). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For...(+)
(Study Score). Composed
by Antonin Dvorak
(1841-1904). Edited by
Peter Jost. For String
Quartet (Study Score).
Henle Study Scores.
Softcover. G. Henle
#HN7232. Published by G.
Henle
(Parts). Composed by Antonin Dvorak (1841-1904). Edited by Peter Jost. For Strin...(+)
(Parts). Composed by
Antonin Dvorak
(1841-1904). Edited by
Peter Jost. For String
Quartet (Parts). Henle
Music Folios. Softcover.
G. Henle #HN1232.
Published by G. Henle
(Wedding and Classical Favorites). Composed by Various. Arranged by Daniel Kelle...(+)
(Wedding and Classical
Favorites). Composed by
Various. Arranged by
Daniel Kelley. For
Flute/Oboe/Violin and
Cello/Bassoon. Duets.
Music for Two series. A
tremendous new collection
for any occasion
including the best of
Beethoven, Handel,
Mendelssohn, Mozart,
Borodin, Vivaldi, Corelli
and more! This versatile
series is designed to be
played by two different
instruments!. Wedding,
Classical.
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing
String Quartet SKU: HL.14031816 Composed by Jean Joubert. Music Sales Ame...(+)
String Quartet
SKU:
HL.14031816
Composed
by Jean Joubert. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV12053901.
Published by Music Sales
(HL.14031816).
8.5x11.75x0.3
inches.
Though
conceived as four
separate movements, my
second string quartet has
a single motif which is
common to them all. This
is the three-note Muss es
sein? from Beethoven's
last quartet, Op. 135.
But whereas Beethoven's
theme is notated G E A
flat, thus giving it an F
minor connotation, I have
sued an alternative
spelling - G E G sharp -
which suggests an
ambiguous E minor-major.
This ambiguity, in fact,
becomes the tonal basis
of the whole work, only
to be resolved at the end
of the final movement.
Each movement begins with
a variant of the basic
motif on the cello. The
first has the original
form of the theme, while
the second has a
majorised version which
is also expressed as a
chord. The third
movement, with its
scherzoid middle section,
reverts to the
major-minor ambiguity of
the first, and the finale
begins with the majorised
version as an ostinato
accompaniment on
pizzicato cello. The slow
movement is sub-titled In
memoriam DSCH and
concludes with a
quotation of
Shostakovich's motto - D
E flat C B - which is
basically the same as
Beethoven's with the
addition of one note.
This is not to imply that
the work contains no
other thematic material.
One important theme, a
rising fifth and a
second, is also common to
three of the movements,
and is ultimately derived
from my first quartet,
Op. 1 of 27 years
earlier, to which this
second contribution to
the form is in many ways
like a sequel. Like the
earlier work, too, this
quartet is dedicated to
my wife.
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.