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Piano seul (211) Guitare (18) 1 Piano, 4 mains (12) Alto seul (11) Flûte traversière et Piano (9) Violon (9) Violoncelle (8) Flûte traversière (8) Guitare notes et tablatures (8) Orchestre à Cordes (7) Quatuor à cordes: 2 violons, … (7) Clarinette (7) Flûte et Guitare (6) Violoncelle, Piano (6) Trompette (5) Théorie de la musique (4) Cor (4) Orchestre (4) Hautbois (3) Piano Facile (3) Trompette, Piano (3) 2 Pianos, 4 mains (3) Violon, Alto (duo) (2) Alto, Piano (2) Piano, Voix et Guitare (2) Trompette, Orchestre (2) Piano Trio: piano, violon, vio… (2) Violon et Piano (1) Basse electrique (1) Trio à Cordes: 3 violoncelles… (1) Formation musicale - Solfège (1) Clarinette Basse, Piano (1) Instruments Sib, Mib, Do et Ba… (1) Harpe et Piano (1) 2 Flûtes traversières, Piano… (1) Piano, Guitare (duo) (1) Fake Book (1) Cor et Piano (1) Instruments en Do (1) Orchestre d'harmonie (1) Mandoline (1) Timbales (1) Trombone (1) 3 Euphoniums (1) Eveil Musical (1) Orgue (1) Basson (1) Clavier (1) 2 Marimbas (1) Harmonica (1) Contre Basse (1) Marimba (1) Contrebasse, Piano (duo) (1) Percussion (1) Saxophone Alto (1) Saxophone Tenor (1)
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Major Works For Orchestra Orchestre [CD Sheet Music] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all
SKU:
PR.816600040
Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040).
UPC:
680160600045. 5.5x5
inches.
This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1)
CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series.
$18.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Rondo in C Major, Op. 73 Piano seul - Avancé Alfred Publishing
Composed by Fr�©d�©ric Chopin. Edited by Maurice Hinson and Allison Ne...(+)
Composed by
Fr�©d�©ric
Chopin. Edited by Maurice
Hinson and Allison
Nelson. For Piano. Book;
Masterworks; Piano Duo (2
Pianos, 4 Hands). Alfred
Masterwork Edition. Form:
Rondo. Masterwork;
Romantic. Advanced. 44
pages. Published by
Alfred Music
$8.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Rondo KV Anh. 184, Andante KV 315 Flûte traversière et Piano - Intermédiaire Dowani
Flute and Piano - intermediate SKU: BT.DOW-05533-400 For Flute and Orc...(+)
Flute and Piano -
intermediate
SKU:
BT.DOW-05533-400
For Flute and
Orchestra D major / Ré
majeur / D-Dur, C major /
Ut majeur / C-Dur .
Composed by Wolfgang
Amadeus Mozart. Dowani 3
Tempi Play Along.
Classical. Book with Part
and Audio-Online.
Composed 2019. 20 pages.
Dowani #DOW 05533-400.
Published by Dowani
(BT.DOW-05533-400).
ISBN 9789043157063.
English-German-French.
In this edition, we
present two shorter works
by Wolfgang Amadeus
Mozart, which were not
originally intended as a
continuous work, but
which are ideally suited
to such a performance,
especially as they
complement one another in
character so beautifully.
The edition allows you to
work through the piece
systematically and at
different tempi with the
accompaniment. The
enclosed CD begins with
the concert version of
each movement, following
which you will hear the
piano accompaniment at
slow and medium tempo to
help you practice. Having
mastered these slower
versions, you’ll
now be ready to play with
orchestral accompaniment
at the original tempo.
All of the versions
wererecorded live. The CD
tracks are also available
in downloadable MP3
format. Mit
dieser Ausgabe
präsentieren wir Ihnen
zwei kürzere Werke von
Wolfgang Amadeus Mozart,
die ursprünglich nicht
als ein fortlaufendes
Werk vorgesehen waren,
sich jedoch bestens
für eine solche
Aufführung eignen,
zumal sie einander
charakterlich schön
ergänzen. Diese
Ausgabe ermöglicht es
Ihnen, das Werk
systematisch und in
verschiedenen Tempi mit
Begleitung zu
erarbeiten. Auf der
beiliegenden CD hören
Sie zuerst die
Konzertversion eines
jeden Satzes. Zum Ãœben
folgt nun im langsamen
und mittleren Tempo die
Klavierbegleitung:
anschließend können
Sie sich im Originaltempo
vom Orchester begleiten
lassen. Alle
eingespielten Versionen
wurden live aufgenommen.
SämtlicheCD-Tracks
stehen auch online im
MP3-Format zur
Verfügung.
Dans cette
édition, nous vous
présentons deux
Å“uvres relativement
courtes de Wolfgang
Amadeus Mozart qui
n’étaient pas
conçues
l’origine pour
être associées,
mais se prêtent
parfaitement être
jouées l’une la
suite de l’autre
du fait de la belle
complémentarité de
leurs caractères
respectifs. Vous pourrez
les travailler avec
accompagnement, de
manière
systématique et
différents tempos.
En effet, le CD joint
vous permettra tout
d’abord
d’entendre la
version de concert de
chacune des pièces.
Mais vous y trouverez
également un
accompagnement de piano
pour travailler un tempo
lent puis un autre un
tempo intermédiaire.
Enfin,
l’accompagnement
au tempo original est
exécutépar un
orchestre. Ces
différentes versions
ont toutes été
enregistrées en direct
et sont aussi disponibles
en ligne au format
MP3.
$31.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Mozart (Jazz Play-Along Volume 159) Instruments Sib, Mib, Do et Bass clef [Partition + CD] Hal Leonard
Mozart. (Jazz Play-Along Volume 159). By Wolfgang Amadeus Mozart (1756-1791). Fo...(+)
Mozart. (Jazz Play-Along
Volume 159). By Wolfgang
Amadeus Mozart
(1756-1791). For E§
Instruments, C
Instruments, B-flat
Instruments, Bass Clef
Instruments. Jazz Play
Along. Softcover with CD.
80 pages. Published by
Hal Leonard
$16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Mozart - Sonata C Major K 545 Piano seul G. Henle
Piano SKU: HU.HN164 Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttr...(+)
Piano
SKU: HU.HN164
Composed by Wolfgang
Amadeus Mozart. Edited by
Ernst Herttrich. Piano
Solo, Piano and Keyboard,
Repertoire, Solos. Piano
Sonata C major K.545
(facile). Classical.
Softcover Book. 16 pages.
G. Henle #HN164.
Published by G. Henle
(HU.HN164).
$12.95 - Voir plus => Acheter Délais: 4 to 6 weeks
32 Sonatinas And Rondos - Piano Solo
Piano seul [Partition] - Intermédiaire Schirmer
Piano Solo. By Various. Arranged by Kleinmichel. Piano Collection. Size 9x12 inc...(+)
Piano Solo. By Various.
Arranged by Kleinmichel.
Piano Collection. Size
9x12 inches. 136 pages.
Published by G. Schirmer,
Inc.
(1) $16.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Selected Piano Pieces (11) Piano seul Peters
By Wolfgang Amadeus Mozart. Edited by Soldan, Weinreich(Urtext). For piano. Fant...(+)
By Wolfgang Amadeus
Mozart. Edited by Soldan,
Weinreich(Urtext). For
piano. Fantasy and
Fugue(K.394)(C);
Fantasies(K.396/7)(c,d);
Rondos(K.485,494,511)(D,F
,a); Andante(KC616)(F);
Suite(K.399)(C);
Adagio(K.540)(b);
Minuet(K.355)(d);
Gigue(K.574)(G).
Published by C.F. Peters.
$25.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Sonatina Album - Book and Cd (Ed. Small) Piano seul [CD] Alfred Publishing
Keyboard (Masterworks Book). Published by Alfred Publishing. (22529) ISBN 07390...(+)
Keyboard (Masterworks
Book). Published by
Alfred Publishing.
(22529)
ISBN 073903698X.
Originally compiled and
edited by Louis Kohler,
this edition contains
some of the most popular
keyboard sonatinas,
rondos and other works
(including symphonic
transcriptions) of
Beethoven, Clementi,
Haydn, Kuhlau and Mozart,
among others. In
clarifying this edition,
editor Allan Small has
removed impractical
fingerings and
unnecessary accidentals
found in other editions.
The Alfred Masterwork
Library CD Editions
conveniently combine each
exceptional volume with a
professionally recorded
CD that is sure to
inspire artistic
performances.
(1) $17.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Rondos Piano seul [Partition] Kalmus
Composed by Frederic Chopin (1810-1849). Edited by Franz Liszt. Masterworks; Pia...(+)
Composed by Frederic
Chopin (1810-1849).
Edited by Franz Liszt.
Masterworks; Piano
Collection. Kalmus
Edition. Form: Rondo.
Masterwork; Romantic.
Book. 40 pages. Kalmus
Classic Edition
#00-K03339. Published by
Kalmus Classic Edition
$9.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Classical Fake Book - 2nd Edition Fake Book [Fake Book] - Facile Hal Leonard
(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.
(8) $49.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Concerto in Eb Major Trompette, Piano Carl Fischer
For Trumpet in Bb and Piano, S. 49 . Composed by Johann Nepomuk Hummel (17...(+)
For Trumpet in Bb and
Piano, S. 49 .
Composed by Johann
Nepomuk Hummel
(1778-1837). Edited by
Elisa Koehler. Arranged
by Elisa Koehler.
Romantic. Score and
part(s). With Standard
notation. 36 8 pages.
Carl Fischer #W002681.
Published by Carl Fischer
(CF.W2681).
$14.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020.
$42.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Essential Home Library - Volume 12 (Classical) Piano, Voix et Guitare [Partition] Alfred Publishing
This edition: Piano/Vocal/Chords. P/V/C Mixed Folio. Essential Home Library Seri...(+)
This edition:
Piano/Vocal/Chords. P/V/C
Mixed Folio. Essential
Home Library Series.
(Wolfgang Amadeus Mozart)
* Moonlight Sonata (First
Movement). Level: (Ludwig
van Beethoven) * Ode to
Joy (Ludwig van
Beethoven) * Pavane
(Maurice Ravel) * Prelude
in A Major (Frederic
Chopin) * Rondo alla
Turca (Wolfgang Amadeus
Mozart) * Sonata No. 1 in
C Major (First Movement)
(Wolfgang Amadeus Mozart)
* Trumpet Tune (Jeremiah
Clarke), and many more.
Book. 144 pages.
Published by Alfred
Publishing.
$12.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Variations in C major, Rondo in D Major 2 Pianos, 4 mains PWM (Polskie Wydawnictwo Muzyczne)
2 Pianos SKU: BT.PWM51600031 National Edition . Composed by Frederi...(+)
2 Pianos
SKU:
BT.PWM51600031
National Edition .
Composed by Frederic
Chopin. Chopin National
Edition. Classical. Book
Only. 136 pages. Polskie
Wydawnictwo Muzyczne
#PWM51600031. Published
by Polskie Wydawnictwo
Muzyczne
(BT.PWM51600031).
English.
Variati
ons in C major for 4
hands WN 5. Rondo in D
major for 2 pianos WN 15.
Series B. Works published
posthumously. Volume IX.
Version with English and
Polish commentary. Second
piano part for Rondo in C
major is included. First
Edition, Foundationfor NE
2010.
$26.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Concerto in E Major Trompette Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet
SKU:
CF.W2682
For
Trumpet in E and Piano,
S.49 . Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major.
Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key. The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467).
$34.99 - Voir plus => Acheter Délais: 2 to 3 weeks
Sonatas and Pieces Piano seul Peters
By Bach C.P.E. Edited by Herrmann(Urtext). For piano. 4 Sonatas,12 Variations on...(+)
By Bach C.P.E. Edited by
Herrmann(Urtext). For
piano. 4 Sonatas,12
Variations on La Folie
d'Espagne,Rondo(E|),4
Allegros,La Stahl.
Published by C.F. Peters.
$21.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Classical Piano Solos Collection Vol. 10 Piano seul Music Sales
Compiled by Stephen Harding. Book. Published by Music Sales. (AM92422) Fifteen...(+)
Compiled by Stephen
Harding. Book. Published
by Music Sales. (AM92422)
Fifteen classics from the
greatest composers of all
time. Includes Rondo on C
Major, Op. 51, No. 1,
Solfeggio in C Minor,
Intermezzo in B Minor,
Op. 119, No. 1 and more.
$12.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Rondos for Piano Piano seul PWM (Polskie Wydawnictwo Muzyczne)
(Chopin National Edition Vol. VIIIA). Composed by Frederic Chopin (1810-1849). E...(+)
(Chopin National Edition
Vol. VIIIA). Composed by
Frederic Chopin
(1810-1849). Edited by
Jan Ekier and Pawel
Kaminski. For Piano. PWM.
Polskie Wydawnictwo
Muzyczne #51600014.
Published by Polskie
Wydawnictwo Muzyczne
$20.95 - Voir plus => Acheter Délais: 24 hours - In Stock
24 Preludios para guitarra Guitare [Partition + Accès audio] Music Distribution Services
Guitar - intermediate to advanced SKU: M7.GHE-702-96 Composed by Manuel P...(+)
Guitar - intermediate to
advanced
SKU:
M7.GHE-702-96
Composed by Manuel Ponce.
Edited by Stefano
Grondona. This edition:
Saddle-wire stitching.
Sheet music with Online
material. Critical
Edition. MDS (Music
Distribution Services)
#GHE 702-96. Published by
MDS (Music Distribution
Services)
(M7.GHE-702-96).
ISBN
9783890447056.
English.
HIS IS THE
FIRST CRITICAL EDITION OF
THESE WORKS AND IT OFFERS
WE HOPE A STANDARD
READING WHICH EXAMINES,
WITH SOLUTIONS, MANY
UNEXPLAINED DIFFERENCES
BETWEEN THE COMPOSER'S
MANUSCRIPTS, OUR EDITED
MUSIC TEXT, AND PREVIOUS
EDITIONS. 70 years after
Ponce's death in 1948, we
celebrate his life with a
new critical-performing
edition of his 24
Preludios newly prepared
from the original
manuscripts by Stefano
Grondona. We proudly
present a totally new
edition with audio files
of the 24 Preludios para
guitarra. This is the
first critical edition of
the 24 Preludios para
guitarra. The audio files
of all 24 Preludios are
played by Stefano
Grondona and for download
with a code printed in
the book. This edition is
really two editions in
one. Not only is it a
performing edition
meticulously fingered by
Stefano Grondona, but as
well it is also an Urtext
edition of the original
manuscripts. Our
pragmatic critical
apparatus permits the
player simply and clearly
to see also what was in
the original manuscripts,
and what was not. With
this publication it is
now possible to clarify
some long-standing issues
relevant to our aim of
presenting an accurate
final music text; it is
now possible to see where
previous publications of
this repertoire have
varied with the
manuscripts and how we
have treated these
situations in our
edition, and how these
were treated differently
in previous editions. A
comprehensive critical
commentary is included
together with copious
historical and
informative notes about
the selection of the
works and how and why our
edition took its present
form and content. At last
we believe to have an
edition which takes the
form which the composer
intended and new source
material is also
included, such as the
Ramaugé ms for
Prelude no. 6.
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The Classical Piano Solos Collection Piano seul Willis Music
106 Graded Pieces from Baroque to the 20th C. Compiled and Edited by P. Low, ...(+)
106 Graded Pieces from
Baroque to the 20th C.
Compiled and Edited by P.
Low,
S. Schumann, C. Siagian.
Composed by Various.
Edited
by Charmaine Siagian.
Willis.
Classical, Recital,
Solos.
Softcover. Published by
Willis Music
$27.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Beethoven: Easiest Piano Pieces Piano seul Schirmer
Piano SKU: HL.50601560 Schirmer's Library of Musical Classics Vol. 214...(+)
Piano
SKU:
HL.50601560
Schirmer's Library of
Musical Classics Vol.
2142 . Composed by
Ludwig van Beethoven.
Piano. Classical.
Softcover. 64 pages.
Published by G. Schirmer
(HL.50601560).
ISBN
9781540039699. UPC:
888680894047.
9.0x12.0x0.163
inches.
44
bagatelles, German
dances, ländler,
minuets, sonatinas, and
more. Contents:
Allegretto in B minor,
WoO 61 • Bagatelle
in G minor, Op. 119, No.
1 • Bagatelle in A
Major, Op. 119, No. 4
• Bagatelle in C
Major, Op. 119, No. 8
• Bagatelle in A
minor, Op. 119, No. 9
• Bagatelle in
B-flat Major, Op. 119,
No. 11 • Bagatelle
in G Major “Lustig
und Traurig,†WoO
54 • Bagatelle in A
minor “Fur
Elise,†WoO 59
• Bagatelle in
B-flat Major, WoO 60
• Ecossaise in G
Major, WoO 23 •
German Dance in E-flat
Major, WoO 86 •
German Dance in E-flat
Major, WoO 8, No. 5
• German Dance in G
Major, WoO 8, No. 6
• German Dance in C
major, WoO 8, No. 7
• German Dance in D
Major, WoO 13, No. 1
• German Dance in
B-flat Major, WoO 13, No.
2 • German Dance in
B-flat Major, WoO 13, No.
6 • German Dance in
E-flat Major, WoO 13, No.
9 • German Dance in
C Major, WoO 13, No. 10
• Klavierstuck in G
minor, WoO 61a •
Seven Landler, WoO 11
• Six Landler, WoO
15 • Minuet in
B-flat Major, WoO 7, No.
8 • Minuet in F
Major, WoO 7, No. 8
• Minuet in F
Major, WoO 7, No. 12
• Minuet in G
Major, WoO 10, No. 2
• Minuet in E-flat
Major, WoO 10, No. 3
• Minuet in C
Major, WoO 10, No. 6
• Miinuet in E-flat
Major, WoO 82 •
Sonata in G minor, Op.
49, No. 1, Andante and
Rondo. Allegro •
Sonata in G Major, Op.
49, No. 2, Allegro ma non
troppo and Tempo di
Minuetto • Sonatina
in G Major, Anh. 5, No. 1
• Sonatina in F
major, Anh. 5, No. 2
• Waltz in E-flat
Major, WoO 84 •
Waltz in D Major, WoO
85.
$10.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Sinfonia Concertante for Violin, Viola, and Orchestra in E-flat Major, KV 364; Adagio in E; Rondo in C Violon [Partition + Accès audio] Music Minus One
Music Minus One Violin. Composed by Wolfgang Amadeus Mozart (1756-1791). Sheet m...(+)
Music Minus One Violin.
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Sheet music
with CD. Music Minus One.
Classical. Softcover
Audio Online. 32 pages.
Music Minus One #MMO3170.
Published by Music Minus
One
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
24 Preludios para guitarra Guitare - Intermédiaire/avancé Music Distribution Services
Composed by Manuel Ponce (1882-1948). Edited by Stefano Grondona. This editi...(+)
Composed by Manuel Ponce
(1882-1948). Edited by
Stefano
Grondona. This edition:
Saddle-wire stitching.
Sheet
music with CD. Critical
Edition. 36 pages. MDS
(Music
Distribution Services)
#GHE
702-50. Published by MDS
(Music Distribution
Services)
$26.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Rondo D Major KV485 for solo piano (Revised Edition) Piano seul [Partition] G. Henle
(Revised Edition Piano Solo). By Wolfgang Amadeus Mozart (1756-1791). Edited by ...(+)
(Revised Edition Piano
Solo). By Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Ullrich Scheideler. Piano
solo. This edition:
HN895. Henle Music
Folios. Softcover. 17
pages
$8.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Rondo in C Major, Op. 51, No. 1 Piano seul G. Henle
For Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Joanna Co...(+)
For Piano. Composed by
Ludwig van Beethoven
(1770-
1827). Edited by Joanna
Cobb
Biermann. Henle Music
Folios. Softcover. G.
Henle
#HN1456. Published by G.
Henle
$9.95 - Voir plus => Acheter Délais: 24 hours - In Stock
The Rosewood Book
An Anthology of Music by Major Composers of the 18th, 19th and 20th Centuries,an Anthology of Music by Major Composers of the 18th, 19th and 20th Centuries Flûte et Guitare [Conducteur + CD] Carl Fischer
Transcribed by Jean Rosenblum, Peter Greenwood. Set of performance parts and ac...(+)
Transcribed by Jean
Rosenblum, Peter
Greenwood. Set of
performance parts and
accompaniment CD for
flute (or recorder) and
guitar. 86 pages.
Published by Carl
Fischer.
(4) $28.99 - Voir plus => Acheter Délais: 1 to 2 weeks
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