(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For P...(+)
(From the Renaissance to
the Romantic Periods).
Arranged by William
Ryden. For
Piano/Conductor, Oboe.
Mixed Instruments -
Flexible Instrumentation.
Sacred Instrumental
Ensembles for All. 24
pages. Published by
Alfred Publishing.
Oboe and Piano - easy SKU: BT.AMP-405-400 Arranged by Philip Sparke. Angl...(+)
Oboe and Piano - easy
SKU:
BT.AMP-405-400
Arranged by Philip
Sparke. Anglo Music
Play-Along Series. Book
with CD. Composed 2015.
40 pages. Anglo Music
Press #AMP 405-400.
Published by Anglo Music
Press (BT.AMP-405-400).
ISBN 9789043148474.
English-German-French-Dut
ch.
Part of the
Anglo Music Play-Along
Series, Philip
Sparke’s 15
Easy Christmas
Carols is aimed
at the young
instrumentalist who can
play just over an octave.
Specifically tailored to
suit the individual
instrument, this book
introducesthe beginning
player to the
world’s most
popular Christmas tunes
by selecting simple yet
attractive melodies that
fit their limited range.
This book will provide
invaluable additional
material to complement
any teaching method and
includes both
pianoaccompaniment and a
demo/play-along
CD.
Philip Sparkes
15 Easy Christmas
Carols sind Teil
der Anglo Music
Play-Along Reihe und
richten sich an junge
Instrumentalisten, die
den Tonumfang von einer
Oktave beherrschen. Auf
jedes Instrument
zugeschnitten, führen
diese Ausgaben,für die
einfache und zugleich
ansprechende Melodien
ausgewählt wurden die
sich für diesen
begrenzten Tonumfang
eignen, den Anfänger
an die weltweit
beliebtesten
Weihnachtslieder heran.
Dieser Band bietet
wertvolles
Ergänzungsmaterial,
das zu
jederInstrumentalschule
passt und sowohl eine
Klavierbegleitung als
auch eine Play-Along-CD
enthält.
Playable on Any Four Instruments or Any Number of Instruments in Ensemble. Arran...(+)
Playable on Any Four
Instruments or Any Number
of Instruments in
Ensemble. Arranged by
Michael Story. For
Piano/Conductor, Oboe.
Mixed Instruments -
Flexible Instrumentation.
Pop Instrumental
Ensembles for All. Pop.
Book. 24 pages. Published
by Alfred Publishing.
Playable on Any Three Instruments or Any Number of Instruments in Ensemble. Arra...(+)
Playable on Any Three
Instruments or Any Number
of Instruments in
Ensemble. Arranged by
Michael Story. For
Piano/Conductor, Oboe.
Mixed Instruments -
Flexible Instrumentation.
Pop Instrumental
Ensembles for All. Pop.
Book. 24 pages. Published
by Alfred Publishing.
Oboe and Piano SKU: BT.EMBZ3769 Per oboe, archi e cembalo RV 461 (F.VI...(+)
Oboe and Piano
SKU:
BT.EMBZ3769
Per
oboe, archi e cembalo RV
461 (F.VII. No. 5, P.V.
42). By Oliver Nagy.
By Antonio Vivaldi,
Oliver Nagy, and Tibor
Szeszler. Book Only.
Composed 1963. 28 pages.
Editio Musica Budapest
#EMBZ3769. Published by
Editio Musica Budapest
(BT.EMBZ3769).
English-German-Hungari
an.
The source of
the present edition of
the Oboe Concerto in A
minor by Antonio Vivaldi
is the Collected Works of
Vivaldi, edited by
Malipiero, published by
Ricordi 1955. The title
of the original score is
Concerto in La minore per
oboe, archi e cembalo the
original setting: Oboe,
Violini I-II, Viole,
Violoncelli, Contrabassi
and Cembalo. The
arrangement for oboe and
piano is kept in accurate
conformity with the
musical text of score,
the continuo part -
however - has been more
freely adapted (of course
within the possibilities
of baroque style). The
piano part contains the
entire orchestral
material in the Tutti-s,
thus the soloist is not
obliged to play all the
Tutti parts.However, in
Movement I and III the
first and last Tutti may
never be omitted by the
performer.
Die
Grundlage dieser Ausgabe
des Oboenkonzertes in
A-Moll von Antonio
Vivaldi ist die von
Malipiero redigierte
Gesamtausgabe (Ricordi,
1955). Der Titel der
Originalpartitur lautet:
Concerto in La minore per
oboe, archi e cembalo:
die Besetzung ist
folgende: Oboe, Violini
I-II, Viole, Violoncelli,
Contrabassi, Cembalo. Die
Ausgabe für Oboe und
Klavier ist dem Urtext
der Partitur getreu, doch
ist die Ausarbeitung des
Continuos etwas freier
behandelt (natürlich
nur im Rahmen der vom
Stil der Barockmusik
gebotenen
Möglichkeit). Die
Klavierstimme enthält
an den Tuttistellen das
Stimmaterial des ganzen
Orchesters: der Solist
ist daher nicht
verpflichtet,
sämtliche
Tuttimitzuspielen. (Im I.
und III. Satz dürfen
jedoch die ersten und
letzten Tutti vom
Solisten nicht
weggelassen werden.
