Flute Duet and Piano SKU: BT.EMBZ13923 Composed by Johann Ludwig Krebs. B...(+)
Flute Duet and Piano
SKU: BT.EMBZ13923
Composed by Johann Ludwig
Krebs. Book Only.
Composed 1991. 76 pages.
Editio Musica Budapest
#EMBZ13923. Published by
Editio Musica Budapest
(BT.EMBZ13923).
The present
edition of the trio
sonatas by Johann Ludwig
Krebs (1713-1780) is
based on pp. 113-158 of a
contemporary copy of the
trio sonata collection
which is held in the
Sächsische
Landesbibliothek,
Dresden, shelf-mark Mus.
1-Q-1. The common title
at the beginning of the
first trio reads: Sechs
Trio a 2 Flauti e Basso.
In spite of the
consistent indication of
instrument in the source
the music material of the
second flute part
suggests an alternative
use of instruments. Apart
from the characteristic
string turns occurring in
some places mention
should be made of the
range of voice up to g of
the first trio sonata if
the/in first place and
particulary of
theconsistently applied
double stops of the
second melodic instrument
in the first movement of
piece No. 6. Territorial
restrictions may apply.
Please ask before
ordering.
Piano - Beginner SKU: AP.12-0571542271 The Fully Integrated String Ser...(+)
Piano - Beginner
SKU:
AP.12-0571542271
The Fully Integrated
String Series with Over
40 Fun Pieces Ideal for
Individual and Group
Teaching. Composed by
Mark Wilson and Paul
Wood. Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition: Stringtastic.
Book and Digital
Download. Faber Music
#12-0571542271. Published
by Faber Music
(AP.12-0571542271).
ISBN 9780571542277.
English.
Stringt
astic Beginners is a fun
new series designed to
teach through playing in
an engaging exploration
of musical styles. A
fully integrated series,
violin, viola, cello, and
double bass can all learn
and play together in any
combination. Each book
contains over 40
imaginative pieces to
steadily establish a
secure playing technique
and build confidence, one
step at a time, taking
the student from complete
beginner (open strings)
to playing the notes of
the D major scale. The
first 20 pieces consist
of two independent tunes
that can be played as
duets – one for
open strings and a more
advanced part using the
left-hand fingers, which
students can revisit as
they progress. Ideal for
individual and group
lessons as well as
flexible ensemble and
classroom settings. Every
piece is supported by an
exciting backing track
plus a piano-only track
for practice, all
available to
download.
This
Teacher’s
Accompaniment book
provides the complete
piano accompaniments
which work with any
combination of
instrumental
parts.
Chamber Music Double Bass SKU: CF.BF162 26 Medium-Level Arrangements f...(+)
Chamber Music Double Bass
SKU: CF.BF162
26 Medium-Level
Arrangements for Any
Combination of String
Instruments. Arranged
by Todd Parrish.
Collection - Part. 48
pages. Carl Fischer Music
#BF162. Published by Carl
Fischer Music (CF.BF162).
ISBN 9781491162194.
UPC:
680160920945.
The
26 masterworks contained
in this collection have
been carefully arranged
for any combination of
string duet. The
selections appear in
chronological order. They
span nearly 200 years
with 22 composers and
feature works from the
Baroque, Classical, and
Romantic periods. The
arrangements are drawn
from a variety of
sources, including piano
and chamber works.
However, the majority of
works were taken from
actual duets originally
written for two
instruments by the
composers themselves.
Each work was selected
for its quality, musical
interest, and
appropriateness. Arranged
specifically for a
chamber setting, the
duets may be performed at
recitals, adjudications,
weddings, and social
events. The various moods
created through these
works will compliment any
occasion.
Cello Duet; Piano Accompaniment (3 Violine I - 3 Violine II - 2 Viola - 3 Violon...(+)
Cello Duet; Piano
Accompaniment (3 Violine
I - 3 Violine II - 2
Viola - 3
Violoncello/Kontrabass -
1 Basso continuo) -
intermediate
SKU:
HL.49019605
2
Cellos with Piano
Reduction. Composed
by Antonio Vivaldi.
Edited by Wolfgang
Birtel. Arranged by
Susanne Richter. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. 60 pages.
Schott Music #CB256.
Published by Schott Music
(HL.49019605).
ISBN
9790001191272. UPC:
841886019607.
9.0x12.0x0.155
inches.
The genre
of the violoncello
concerto was born in
17th-century Italy.
Thanks to the Venetian
composer Antonio Vivaldi
(1678-1741), there exists
today not only a wealth
of magnificent violin
concertos but also quite
a number of cello
concertos to whose
development he
contributed considerably.
More than two dozen of
his concertos are
dedicated to the
violoncello, including
probably the most famous
double concerto: the
Concerto for two
violoncellos, string
orchestra and basso
continuo in G minor (RV
531) written after 1770.
The sonorous work with
its playful outer
movements and expressive
largo is published in
this critical new edition
on the basis of the
sources. Arrangement:
Suzanne Richter, Basso
Continuo: Marcus
Stein.
By Barrie Cabena (1933-). For Narr, STB soli, SA children's chorus, SATB teens, ...(+)
By Barrie Cabena (1933-).
For Narr, STB soli, SA
children's chorus, SATB
teens, piano duet,
percussion, recorders,
double bass, dancers.
Piano/vocal score.
Published by E.C.
Schirmer Publishing
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
Double bass (double bass) SKU: BA.BA07894-85 Suite for Orchestra. ...(+)
Double bass (double bass)
SKU: BA.BA07894-85
Suite for
Orchestra. Composed
by Gabriel Faure. Edited
by Robin Tait. This
edition: urtext edition.
Folded. Barenreiter
Urtext. Single part. Opus
112. 4 pages.
Baerenreiter Verlag
#BA07894_85. Published by
Baerenreiter Verlag
(BA.BA07894-85).
ISBN
9790006564248. 32.5 x
25.5 cm inches.
In
the style of commedia
dell'arte
In
1918 Gabriel Faure, then
73 years old, received a
commission from Prince
Albert I of Monaco to
write stage music
invoking the atmosphere
of the commedia
dell'arte. The
four-movement orchestral
suite op. 112, consisting
of Ouverture, Menuet,
Gavotte and Pastorale,
combines previously
unpublished parts of this
stage music. The
Pastorale of 1919 was
Faure's last composition
for orchestra, the
Ouverture originated in a
piece of 1864 for piano
duet and the original
version of the Gavotte
was written for piano as
early as 1869. The
op. 112 orchestral
suite demonstrates how
the composer, now older
and more experienced,
reworked and improved his
earlier
music.
This
scholarly-critical
edition of the
four-movement Masques et
Bergamasques op. 112 is
based on Gabriel Faure
The Complete Works,
Volume IV/2.
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
Vocal duet SKU: HP.8967 Composed by Joel Raney. Piano Accompaniment with ...(+)
Vocal duet
SKU:
HP.8967
Composed by
Joel Raney. Piano
Accompaniment with
Optional Orchestra. Vocal
Score. 12 pages. Hope
Publishing Company #8967.
Published by Hope
Publishing Company
(HP.8967).
UPC:
763628189679.
Origi
nal hymn tune Thomas
Chisholm's beloved hymn
text is given a new
melody and dynamic choral
treatment by Joel Raney,
complete with a powerful
orchestral accompaniment,
now also available for
medium-high voice vocal
soloists. . The familiar
words of this classic
hymn come to life afresh
in this compelling new
treatment. The
orchestration by Brant
Adams includes parts for
conductor's score, 2
flutes, oboe, 2 clarinets
in B-flat, bassoon, 2
horns in F, 3 trumpets in
B-flat, 2 trombones, bass
trombone or tuba,
timpani, percussion 1 and
2, harp, 2 violins,
viola, cello, and double
bass.
Orchestra Piano - Early Elementary SKU: AP.12-057154259X The fully int...(+)
Orchestra Piano - Early
Elementary
SKU:
AP.12-057154259X
The fully integrated
string series with over
50 fun pieces ideal for
individual and group
teaching. Composed by
Mark Wilson and Paul
Wood. Method/Instruction;
Orchestra Resources;
Resources; String Series.
Stringtastic. Book and
Digital Download. Faber
Music #12-057154259X.
Published by Faber Music
(AP.12-057154259X).
ISBN 9780571542598.
English.
Stringtast
ic Book 1 teaches through
playing in an engaging
exploration of musical
styles. Part of the fully
integrated Stringtastic
series in which violin,
viola, cello and double
bass can all learn and
play together in any
combination. This
Teacher's Accompaniment
book provides the
complete piano score
which works with any
combination of the
instrumental
parts.
Learn as
you play through the
world of Stringtastic,
with 57 imaginative
pieces that have been
specifically designed to
establish a secure
playing technique and
build confidence one step
at a time. Following on
from Stringtastic
Beginners, this book
takes the student from
playing the notes of the
D major scale to Grade 1
(Early Elementary).
Featuring equal-level
duets for all
instruments, the pieces
are ideal for individual
and group instruction as
well as flexible ensemble
and classroom settings.
Every piece is supported
by an exciting backing
track plus a piano only
track for practice, all
available to
download.
Composed by Marian McPartland. Arranged by Dodgion. For jazz ensemble with optio...(+)
Composed by Marian
McPartland. Arranged by
Dodgion. For jazz
ensemble with optional
flute and soprano sax
doubles on alto sax
parts; solo flugelhorn.
Kendor Jazz Archive
Series. Ballad. Medium
Advanced. Score and set
of parts. Duration ca. 7
minutes, 25 seconds.
Published by Kendor Music
Inc