Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
(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.
Two pieces from the score of the full-length ballet Edward II. The ballet iteslf...(+)
Two pieces from the score
of the full-length ballet
Edward II. The ballet
iteslf was commissioned
by the Stuttgart Ballet,
and completed in 1995.
The first performance
took place in Stuttgart
in April 1995, and in the
same year this
arrangement for 2 Pianos
of two scenes was
commissioned by the Port
Fairy Festival of
Australia. The first
pieces represents one of
the lighter moments of
the ballet, and is based
upon a set of dances at
the French Court The
second piece is a
reminder of the darker
nature of the ballet as a
whole, expressing the
lust for power as the
Barons opposed to Edward
II unite in anger at his
behaviour
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).
Your favourite ABRSM piano exam pieces. Composed by Karen Marshall. ABRSM Exam P...(+)
Your favourite ABRSM
piano exam pieces.
Composed by Karen
Marshall. ABRSM Exam
Pieces. Collection. 24
pages. Published by ABRSM
(Associated Board of the
Royal Schools of Music)
Arranged by Ludwig Minkus
and ed./arr. by William
McDermott/ Libretto by
Sergei Khudekov. Full
Orchestra, Conductor
Score. Kalmus Ballet
Library. Score.
LudwigMasters
Publications #36-A888801.
Published by
LudwigMasters
Publications
(AP.36-A888801).
ISBN
9798888529911. UPC:
659359989490.
English.
The ballet
La Bayadère (The
Temple Dancer or The
Temple Maiden) was
created in 1877 for famed
French choreographer
Marius Petipa to music by
Ludwig Minkus
(1826-1917). In four act
and seven tableaux, the
ballet tells the story of
the bayadère Nikiya
and the warrior Solor,
lovers who are beset by
jealous rivals, arranged
marriages beyond their
control, murder, an
opium-fueled
hallucination of the
afterlife, and a vengeful
god that destroys the
temple and everybody in
it as revenge for
Nikiya's murder. It was
first performed on
February 4, 1877, by the
Imperial Ballet in St.
Petersburg, Russia. It
was hailed as a success
and masterpiece
immediately after the
premiere, particularly
The Kingdom of the Shades
scene in Act II, an
excerpt which remains a
major standalone work for
the ballet repertoire.
Modern performances of La
Bayadère are almost
always derived from a
1941 version sated for
the Kirov/Mariinsky
Ballet by Vladimir
Ponomarev and Vakhtang
Chabukiani, which
incorporates additional
music by Minkus, Drigo,
and Pugni. Act II takes
place after Nikiya is
killed by a concealed
venomous snake. A
depressed Solor smokes
opium, resulting in a
vision of Nikiya's spirit
dwelling in the Kingdom
of the Shades, a nirvana
in the Himalayas. The two
lovers reconcile among
the shades of other
bayadères in a Pas de
deux, then Solor is
awakened just in time for
his arranged marriage to
another woman. This
orchestration of Act II
has been completed by
William McDermott.
Instrumentation: 2.2.2.2:
4.2.3.0: Timp.Perc(2):
Harp: Str (4-4-3-3-3 in
set).
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.
Electronics, Violin (Score) SKU: HL.286628 Solo Violin and Electronics...(+)
Electronics, Violin
(Score)
SKU:
HL.286628
Solo
Violin and Electronics
Score. Composed by
Gabriel Prokofiev. Music
Sales America. Classical,
Contemporary. Softcover.
8 pages. Chester Music
#CH87901. Published by
Chester Music
(HL.286628).
UPC:
888680931728. 8x11.5
inches.
Gabriel
Prokofiev's Howl for solo
Violin and
Electronics.
Commi
ssioned by Luzerner
Ballet.
The first
performance of the ballet
was given by Luzerner
Ballet choreographed by
Maurice Causey on 9th
March 2013.
The
first performance of the
Solo Violin and
Electronics piece was
given by Etienne Abelin
(violin) & Gabriel
Prokofiev (electronics)
at Y-Night/Nonclassical
in BLOK Club, Zurich,
Switzerland, on 19th
December 2013.
ISBN
9790006558285. 33 x 24 cm
inches. Preface: Sylvie
Bouissou. Text: Louis
Fuzelier.
The new
scholarly-critical
edition of the score of
Rameau’s
“ballet
hroïque†Les
Indes galantes finally
clears up its convoluted
source history. At the
first performance, on 23
August 1735, it consisted
of a prologue and three
acts: Le Turc gnreux, Les
Incas du Prou and Les
Fleurs. But Les Fleurs
already proved
controversial in the
early performances, and
from 11 September of that
same year it was given a
wholly new form. For the
revival on 10 March 1736
Rameau and Fuzelier added
an entirely new act Les
Sauvages, and in the
years that followed, the
“ballet
hroïque†was
presented either complete
(1743, 1751 and 1761) or
abridged with a prologue,
Les Incas du Prou and Les
Sauvages
(1751–73).
With regard to the
instrumental movements
(dances and descriptive
pieces), the present
publication is based on
the complete edition
Opera Omnia Rameau (OOR)
volumes IV/2 and IV/7
edited by Sylvie Bouissou
which are currently in
preparation. It includes
not only the orchestral
pieces in the version
deemed valid by Rameau in
1736 (with version 2 of
Les Fleurs and Les
Sauvages), but also those
from the first version of
Les Fleurs (1735) as well
as its 1743 and 1773
revisions. Performers are
thus given a complete
selection of all the
orchestral numbers from
one of Rameau’s
central stage works for
use also in concert
performance.
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
Chorus (with soloists) and orchestra SKU: BR.PB-5651 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra
SKU:
BR.PB-5651
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5651.
Published by Breitkopf
and Haertel (BR.PB-5651).
ISBN 9790004215487.
10.5 x 14
inches.
The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites.
Chorus (with soloists) and orchestra SKU: BR.PB-5652 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra
SKU:
BR.PB-5652
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5652.
Published by Breitkopf
and Haertel (BR.PB-5652).
ISBN 9790004215494.
10.5 x 14
inches.
The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites.
Arranged by Margaret Goldston. For Piano. Piano Collection. Masterwork; Opera. L...(+)
Arranged by Margaret
Goldston. For Piano.
Piano Collection.
Masterwork; Opera. Level:
Early Intermediate. Book.
32 pages. Published by
Alfred Publishing.
1
Piano, 4 Hands.
Composed by Lord Berners.
Music Sales America.
Classical. Softcover.
Chester Music #CH75306.
Published by Chester
Music (HL.14041529).
ISBN
9781849388214.
Lord Berners
(1883-1950) was
one of the most
idiosyncratic and
fascinating personalities
in British music.
He became a
pioneer in the
avant-garde when he wrote
his first music whilst
living in Rome as
adiplomat during World
War 1; Balanchine
choreographed his first
two ballets and Ashton
the next three; in 1931
he had the first
exhibition of his
paintings; in 1934 he
published the first
volume of his
autobiography,
FirstChildhood, and two
years later his first
novel, The Camel -- and
three more novels came
out in 1941.
On
top of all this during
the 1930s, known as 'the
versatile peer', he
increasingly gained a
reputation as an
eccentric,which he
realised was good for
publicity.
A wry
humour pervades
everything, as in these
three sets of piano
duets. Berners' songs and
piano music, too, are as
full of whimsical
references as those of
Erik Satie -- he hasbeen
called the English Satie
and the Ronald Firbank of
music.
Berners
was not prolific but
whatever he did was
stamped with his own
fastidious
accomplishment. He may
not have been the last
eccentric but his music,
writingand painting
combine to make him one
of the most
rewarding.
Composed by Charles Marie Widor (1844-1937). Edited by Daniel Mitterdorfer and...(+)
Composed by Charles Marie
Widor (1844-1937). Edited
by
Daniel Mitterdorfer and
Harold Fabrikant.
Classical.
Score. Crescendo Music
Publications
#9790-902257008.
Published by Crescendo
Music
Publications
Orchestra orchestra SKU: AP.12-0571523781 The Schindowski Mix. Com...(+)
Orchestra orchestra
SKU:
AP.12-0571523781
The Schindowski
Mix. Composed by
Matthew Hindson. Full
Orchestra (Full Score);
Larger Works;
Masterworks; Performance
Music Ensemble. Faber
Edition. 20th Century;
Masterwork. Score. 66
pages. Faber Music
#12-0571523781. Published
by Faber Music
(AP.12-0571523781).
ISBN 9780571523788.
English.
This
arrangement of
Rave-Elation was
commissioned by
Musiktheater im Revier.
The first performance was
given by Ballett
Schindowski, with the
Neue Philharmonie
Nordrhein- Westfalen
conducted by Bernhard
Stengel, in
Gelsenkirchen, for their
all-Hindson ballet
Veitstanz, choreographed
by Bernd Schindowski, on
24 January 2004.
Rave-Elation was written
for performance by the
combined forces of
Camerata Australia and
Camerata Scotland. It
uses aspects of popular
music as a starting
point, in particular that
of the 'techno' music
genre.
The piece
is almost exclusively
hedonistic in content,
and this is deliberate.
The main inspiration for
the work comes from dance
and 'rave' parties,
especially the
party-goers'
single-minded indulgence
in physical
enjoyment.
Edited by Denes Agay. For piano. Music For Millions: Volume 27. Format: piano so...(+)
Edited by Denes Agay. For
piano. Music For
Millions: Volume 27.
Format: piano solo book.
With fingerings. Baroque,
Classical Period,
Romantic Period and 20th
Century. 160 pages. 9x12
inches. Published by
Music Sales.
Choral (clASSrm kit) SKU: HL.9971239 Lessons and Activities Based on t...(+)
Choral (clASSrm kit)
SKU: HL.9971239
Lessons and Activities
Based on the Works of
Aaron Copland.
Resource. Americana,
Classical, Classroom
Resources, Music History.
Published by Hal Leonard
(HL.9971239).
ISBN
9781423461845. UPC:
884088270995. 8.5x11
inches. Patrick
Bolek/Norma Freeman/Linda
Rann.
We are
pleased to announce the
launch of the Leonard
Bernstein Young People's
Classics, a new series
for the music classroom
that presents essential
selections from the
Leonard Bernstein
recorded library with
units of study built
around them. The first in
this series features some
of the more popular works
of Aaron Copland,
including Fanfare for
the Common Man, and
his ballets Billy the
Kid, Appalachian
Spring and
Rodeo.
Make
music listening engaging
and active with
beautifully-designed
full-color listening
maps, easy-to-follow
lesson plans and
full-length recorded
orchestral versions of
Copland's music. Included
in the Classroom Kit is
the Bernstein Century
Copland CD featuring
Leonard Bernstein
conducting the New York
Philharmonic. The
Enhanced CD in the
Teacher book contains
audio folksong
recordings, full-color
PDFs of the student
booklet, student handouts
and bonus materials, all
for duplication or
projection.
Part
II features an in-depth
study of Copland's ballet
Rodeo,
specifically
“Hoe-down,”
based on the Artful
Learning transformative
learning system inspired
by Leonard Bernstein.
Working together in
learning centers,
students engage in
cross-curricular
activities that are
incorporated into the
music lessons. Available
separately: Teacher
Book/Enhanced CD, Student
Book 5-Pak, the Bernstein
Century Copland CD, and a
Classroom Kit (1 Teacher
Edition/Enhanced CD, 20
Student Books, 1 Copland
CD). Suggested for Grades
5-9.
Piano Duet (Piano For 2 Players) SKU: HL.49046797 Fantasia on the Rond...(+)
Piano Duet (Piano For 2
Players)
SKU:
HL.49046797
Fantasia on the Rondo
from the Piano Sonata in
A Major, K. 331 Ve.
Composed by Fazil Say.
Edited by Selin
Sekeranber and Yudum
Centiner. Piano Duet.
Classical. Softcover. 12
pages. Duration 90
seconds. Schott Music
#ED23518. Published by
Schott Music
(HL.49046797).
UPC:
842819115670.
9.0x12.0x0.099
inches.
The final
movement of the Sonata in
A major KV 331 by
Wolfgang Amadeus Mozart,
the Rondo Alla Turca, is
one of the most famous
pianopieces of all time.
Once only familiar to
musical experts, later a
universal piece for all
piano pupils, its opening
melody is now even
omnipresent as an
alienated sinus tone-like
mobile phone ring tone.
Fazil Say's arrangement,
originally created as an
effective encore, follows
on from this popularity.
After the first eight
bars havebeen presented
in original form, typical
elements of jazz
superimposed on the still
recognisable classical
foundations can be
discovered, such as
syncopation of the top
notes and ornamentation
through chromatic blue
notes, embedded in the at
times frenzied chains of
semiquavers. In the
spirit of the work's
improvisatory character,
Say likes to perfom his
Alla Turca Jazz in
different combinations,
for example accompanied
by jazz singers of with
orchestra. It may appear
strange that Fazil Say,
who was born in Turkey
and - when not on tour -
is still resident in that
country, does not bring
back Mozart's
interpretation of genuine
Turkish music closer to
its own roots,
particularly as many of
his compositions such as
Black Earth or the Violin
Sonata are characterised
by a subtle amalgamation
of the Classical-Romantic
tradition, Turkish folk
music and elements of
jazz. In a further Mozart
arrangement, the ballet
music Patara premiered in
Vienna in 2006, composed
on the basis of the
Rococo-like theme from
the first movement of the
same A-major Sonata (wich
enjoys almost as great
popularity as the Alla
Turca theme), Say
utilised the connection
which was absent in Alla
Turca, albeit in the
opposite direction. In
the ballet music, the
piano symbolises Western
culture and the Ney flute
Oriental culture,
communcated
atmosperically by austere
percussion
instrumentation and
soprano vocalisation.
(Movements I and II Arranged for Cello and Piano). Composed by Igor Fyodorovich ...(+)
(Movements I and II
Arranged for Cello and
Piano). Composed by Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For cello,
piano. 8 2 pages.
Published by Carl Fischer
Acte de ballet.
Composed by Jean-Philippe
Rameau. Edited by
Nathalie Berton-Blivet.
Arranged by François
Saint-Yves. This edition:
urtext edition.
Paperback. Vocal Score.
RCT 52. Baerenreiter
Verlag #BA08861_90.
Published by Baerenreiter
Verlag (BA.BA08861-90).
ISBN 9790006558186. 27
x 19 cm inches. Text
Language: French.
Preface: Nathalie
Berton-Blivet. Text:
Ballot de Sauvot,
Sylvain.
Pigmalionw
as the first example of a
one-act ballet, preceded
by an overture, composed
specifically for the
Academie royale de
musique. With this work,
Rameau turned to the form
of the petit opera. From
its very first
revival,Pigmalionwas
highly successful, and
remained so until 1781.
The new edition by
Nathalie Berton-Blivet is
based, for the most part,
on the production
material used at the
Opera from 1748 to 1781
and the performance
material realized for the
court revival at
Fontainebleau in October
1754.
This later
version, the last one
validated by Rameau, is
the one reconstituted in
this precious OOR volume,
including a detailed
introduction in French
and English, a critical
libretto edition, the new
score with its critical
report and some
interesting facsimile
pages.
Flute and Harp SKU: HL.14021002 Composed by Sir Peter Maxwell Davies. Mus...(+)
Flute and Harp
SKU:
HL.14021002
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical. Book
[Softcover]. Composed
1999. 10 pages. Chester
Music #CH60938. Published
by Chester Music
(HL.14021002).
ISBN
9780711955103.
9.0x12.0x0.054
inches.
Two dances
for flute and harp from
Peter Maxwell Davies'
ballet Caroline Mathilde.
A new instrumentation
restores this linked pair
of dances from Davies's
second full-length
ballet, Caroline Mathilde
based on the story of the
eighteenth-century
British princess sent in
marriage to Denmark, to
the eighteenth-century
milieu of the work's
setting and musical
world. The period manners
- a gavotte in the first
dance, a gigue at the
start of the second - are
typically overlaid with
the composer's
Scottishness. In general
the harp has an
accompanying role, but it
comes forward alone in
the second movement,
which ends with bravura
from both instruments.
These two dances were
first performed in
September 1993 at the
Northlands Festival by
David Nicholson and
Eluned Pierce. Score and
flute part. Duration c.
5mins. Harp part edited
by Elune Pierce.
Fantasia on the Rondo from the Piano Sonata in A major K. 331 Alt. Composed ...(+)
Fantasia on the Rondo
from
the Piano Sonata in A
major
K. 331 Alt. Composed by
Fazil
Say. Woodwind Solo.
Classical. Softcover. 8
pages. Schott Music
#ED23175.
Published by Schott Music
Fantasia on the Rondo from the Piano Sonata in A major K. 331 by Wolfgang Am...(+)
Fantasia on the Rondo
from
the Piano Sonata in A
major
K. 331 by Wolfgang
Amadeus
Mozart, arranged for harp
by
Ekaterina Afanasieva
(2015).
Composed by Fazil Say.
Arranged by Ekaterina
Afanasieva. This edition:
Saddle stitching. Sheet
music. Der Finalsatz der
Sonate A-Dur KV 331 von
Wolfgang Amadeus Mozart,
das
Rondo Alla Turca, ist
eines
der bekanntesten
Klavierstucke uberhaupt.
An
diese Popularitat knupft
das
als effektvolle Zugabe
entstandene Stuck von
Faz?l
Say in der Bearbeitung
fur
Harf. Classical. Single
sheet. Composed 1993. Op.
5b.
8 pages. Duration
4'. Schott
Music #ED22797. Published
by
Schott Music
(Movements I and II Arranged for Violin and Piano). By Igor Fyodorovich Stravins...(+)
(Movements I and II
Arranged for Violin and
Piano). By Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For violin
piano. 8 2 pages.
Duration 7 minutes.
Published by Carl Fischer