This eclectic collection for solo Flute will delight film fans of all ages! 101 Movie Hits contains a dazzling selection of favourites from the silver screen, including Diamonds Are A Girl's Best Friend (Gentlemen Prefer Blondes), Eye Of The Tiger (Rocky III), Hallelujah (Shrek), Happy (Despicable Me 2), Mrs. Robinson (The Graduate), The Dreame (Sense And Sensibility), Let It Go (Frozen), Summer Nights (Grease), The Music Of Goodbye (Out Of Africa) and more. / Alto

Demanding salon music for string quartet (with double-bass ad libitum) is provided by Wolfgang Birtel in his 'Latin Dances' with four titles which can be played individually or as a little suite. The first dance is the chorinho 'Não me toques' by Zequinha de Abreu (1880-1935) who not only wrote 'Tico Tico' but also other rousing pieces of music. Ernesto Nazareth (1863-1934) is considered to be the 'inventor' of the Brazilian tango and waltz: He titled the waltz, which follows as second title, 'Ingenious'. These rather unknown titles are followed by two absolute worldwide hits: 'Bolada de Aficionado' by A.G. Villoldo and then the everlasting beguine 'Bésame Mucho' by the Mexican composer Consuelo Velázques (1916-2005). Whether individually or as a 'four-pack' - the fingers will be twitching and the toes will be tingling for this music carries away musicians and audience alike. / Quatuor A Cordes

40 Of His Greatest Hits. Par LLOYD WEBBER ANDREW. 40 of the most memorable songs composed by the inimitable Andrew Lloyd Webber are gathered in this value-packed instrumental solo collection. Songs include: Amigos Para Siempre (Friends for Life) - Any Dream Will Do - Don't Cry for Me Argentina - I Believe My Heart - I Don't Know How to Love Him - Learn to Be Lonely - Love Changes Everything - Memory - No Matter What - The Phantom of the Opera - Pie Jesu - Starlight Express - Stick It to the Man - Tell Me on a Sunday - 'Til I Hear You Sing - Whistle Down the Wind - With One Look - You Must Love Me - and many more./ Recueil / Alto

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

This huge collection offers instrumentalists the chance to play 101 classical themes, including: Ave Maria · Bist du bei mir (You Are with Me) · Canon in D · Clair de Lune · Dance of the Sugar Plum Fairy · 1812 Overture · Eine Kleine Nachtmusik (Serenade), First Movement Excerpt · The Flight of the Bumble Bee · Funeral March of a Marionette · Fur Elise · Gymnopedie No. 1 · Jesu, Joy of Man's Desiring · Lullaby · Minuet in G · Ode to Joy · Piano Sonata in C · Pie Jesu · Rondeau · Theme from Swan Lake · Wedding March · William Tell Overture · and many more. / Alto / Hal Leonard

From my life-In a letter of 12th April 1878 (i.e. when he had already lost his hearing) the composer declares that his design was to symbolize the course of his life in this quartet.1st Movement: Love of art in youth the unsatisfied longing for something inexpressible also a presentment of approaching mis-fortune.2nd Movement: Quasi Polka refers to a merry youth during which Smetana enjoyed dancing passionately and wrote dances with ease.3rd Movement: Largo sostenuto the felicity of his first love for the girl who later became his wife.4th Movement: Illustrates his perception of national music and the joy of success only to be suddenly broken by the extend E in the highestregister the fatal note that sounded in the composer's ear just before his deafness. Painful remembrances of the first stages of his career a fleeting ray of hope then ultimately resignation to inescapable fate.

26 Pieces For Viola Playerswith Piano Accompaniment. Par COLLEDGE HUGH / COLLEDGE KATHERINE. La collection Easy String Music de Boosey and Hawkes, dirigée et composée par Katherine et Hugh Colledge, compte quatre volumes d'un répertoire pour cordes destiné aux instrumentistes débutants et en cours d'apprentissage. Ces titres sont très appréciés des professeurs comme de leurs étudiants en raison de leurs vertus pédagogiques : ils introduisent des techniques nouvelles et proposent doigtés, notes et rythmes conçus pour acquérir la maîtrise nécessaire et poser des fondations solides en vue de la suite de l'apprentissage. Chaque titre est disponible en deux versions : l'une est fournie avec un CD de démonstration et de pistes audio d'accompagnement - l'autre comprend un livret d'accompagnement au piano et l'accès à des ressources audio téléchargeables. Les 26 morceaux de Waggon Wheels constituent le deuxième volume de la série. À l'aide d'une musique simple, l'usage des deuxième, troisième et quatrième doigts ainsi que du lié de l'archet seront exercés lors de l'étude de ces morceaux. / Niveau : Très Facile / Date parution : 2019-10-18/ Recueil / Alto

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Alto

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Alto

Par ADELMANN ANDREAS. Palaces, castles and chateaus – we associate music with all these buildings, whether for exhilarating celebrations, high holidays and tournaments: these are all occasions that would have been unthinkable without music and for which there were dances in many different rhythms. This is exactly the kind of music we find in this newly written composition./ Répertoire / 5 Instruments à Vent

Par SUZUKI SHINICHI. Viola Part from the Suzuki Viola School, Volume 2. Transcribed for Viola and Piano by Doris Preucil. The Suzuki philosophy is based upon the idea that children can learn music in the same manner they do their native language, through repetitive listening. This simple method of teaching has developed into a worldwide movement with proponents in many countries across many instruments. The first three volumes of The Suzuki Viola School have been directly transcribed from Shinichi Suzuki's Violin method by Doris Preucil, and contain many popular Baroque melodies in addition to the necessary exercises and studies. Suitable for bothbeginner adults and young children. / Niveau : Débutant à Intermédiaire / Rép Classique / Méthode / Alto

This collection of viola pieces is derived from Beethoven's incidental works. Titles include: Contredance; Duet; Ecossaise; Für Elise; Romanze; and Trinklied. The piano parts frequently double the viola to aid in performance.Books in this series feature a 'pull-out' viola part with essential bowings and fingerings.

Béla Bartók composed his 44 Violin Duos in 1931, at the urging of the German violin pedagogue Erich Doflein. With two exceptions, all the pieces are based on original folk music themes, most of which the composer himself collected in the course of his numerous collecting trips to the Carpathian Basin and in Algeria. Although conceived as parts of a pedagogically motivated set, these little pieces are highly effective in concert performance as well. The viola transcriptions follow Bartóks original faithfully. / 2 Altos

The full score for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Parts available: KP00249The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true tosay that in the Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and