| Duo in A Major, Op. 11, No. 5 Flûte traversière - Intermédiaire Schott
Flute - intermediate SKU: HL.49010584 For Two Flutes. Composed by ...(+)
Flute - intermediate
SKU: HL.49010584
For Two Flutes.
Composed by Giovanni
Giuseppe Cambini. Edited
by Walter Lebermann.
Arranged by Walter
Lebermann. This edition:
Saddle stitching. Sheet
music. Il Flauto Traverso
(Flute Library).
Classical. Playing score.
Op. 11/5. 16 pages.
Schott Music #FTR20.
Published by Schott Music
(HL.49010584). ISBN
9790001093347.
9.0x12.0x0.07
inches. Die beiden
Duos op. 11 des auch von
Mozart geschatzten
Komponisten Cambini
bestehen aus Allegro und
Rondo und sind
formvollendete klassische
Musizierstucke. Beide
Flotenparte beschranken
sich auf einen mittleren
Schwierigkeitsgrad und
bilden damit vorzugliche
Vortragsstucke fur den
Unterrichtsgebrauch. $15.99 - Voir plus => Acheter | | |
| Concerting Duo (two Flutes) Leduc, Alphonse
SKU: HL.48183751 Composed by Jindrich Feld. Leduc. Classical. Softcover. ...(+)
SKU: HL.48183751
Composed by Jindrich
Feld. Leduc. Classical.
Softcover. 36 pages.
Alphonse Leduc #AL25969.
Published by Alphonse
Leduc (HL.48183751).
UPC: 888680859343.
9.0x12.0x0.191
inches. Duo
Concertant is a pretty
Flute duet by Jind?ich
Feld that lasts
approximately fifteen
minutes. An explanation
of the symbols used is
given at the beginning of
the score. Written in the
unique genre of its
composer, this difficult
duet is divided into five
sections. I. Introduzione
- Lento II. Toccata ?
Allegro assai III.
Intermezzo - Tranquillo
IV. Scherzo ? Allegro
vivo V. Epilogo - Lento
This great piece is
perfect for a recital or
a concert. Jind?ich Feld
was born in Prague in
1925. From a musician
family, he specialised in
Viola and Violin. He
composed numerous pieces
with a style that mixes
his origins and
occidental music from the
20th century. He later
became composition
professor operating
worldwide.. $44.70 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
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
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Belwin Master Duets (Flute), Intermediate Volume 1 2 Flûtes traversières (duo) [Partition] - Intermédiaire Alfred Publishing
By or arr. Keith Snell. For Flute. Woodwind - Flute Duet. Level: Intermediate. 3...(+)
By or arr. Keith Snell.
For Flute. Woodwind -
Flute Duet. Level:
Intermediate. 32 pages.
Published by Alfred
Publishing.
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Piano Bench Of Classical Music
Piano seul [Partition] Music Sales
Edited by Amy Appleby. For piano. Format: piano solo book (spiral bound). With f...(+)
Edited by Amy Appleby.
For piano. Format: piano
solo book (spiral bound).
With fingerings.
Renaissance, baroque,
classical period,
romantic period,
impressionistic and 20th
century. 400 pages. 9x12
inches. Published by
Amsco.
(6)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Piano Treasury of Classical Music Piano seul [Partition + CD] - Intermédiaire Music Sales
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Double Concerto Orchestre d'harmonie - Intermédiaire C.L. Barnhouse
Grade 3 SKU: CL.012-3551-01 Composed by Antonio Vivaldi. Arranged by Glov...(+)
Grade 3 SKU:
CL.012-3551-01
Composed by Antonio
Vivaldi. Arranged by
Glover. Concert Band.
Spotlight Series. Audio
recording available
separately (items
CL.WFR340 & CL.WFR354).
Extra full score.
Composed 2006. Duration 3
minutes, 6 seconds. Opus
III Wind Orchestra
Publications
#012-3551-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3551-01).
This famous
Allegro movement from a
Vivaldi concerto for two
trumpets is presented
here in an arrangement
loaded with flexibility
as to choice of soloists
and even the accompanying
ensemble. May be
performed as a solo or as
a duet, and it includes
solo/duet parts for Bb
instruments: Trumpets or
Clarinets; C Instruments:
Flutes, Oboes, or
Violins; Eb Instruments:
Alto Saxophones; F
Instruments: Horns; and
Bass Clef instruments:
Bassoons or Trombones.
The accompaniment is
cleverly scored so that
it is playable by a full,
traditional concert band;
or by a chamber wind
ensemble of woodwinds,
horns, and timpani (ideal
for accompanying upper
woodwind soloists.) A
great way to feature
outstanding soloists from
your band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Concerto Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By Antonio Vivaldi (1678-1741). Arranged by Andrew Glover. Concert Band. Spotlig...(+)
By Antonio Vivaldi
(1678-1741). Arranged by
Andrew Glover. Concert
Band. Spotlight. Grade 3.
Score and set of parts.
Composed 2006. Duration
0:03:06
$72.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Definitive Classical Collection Piano seul [Partition] - Intermédiaire/avancé Hal Leonard
133 Selections by 43 Composers. Piano Solo Mixed Folio (Intermediate to advanced...(+)
133 Selections by 43
Composers. Piano Solo
Mixed Folio (Intermediate
to advanced piano
arrangements with no
lyrics). Size 9x12
inches. 480 pages.
Published by Hal Leonard.
(1)$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Saga of the Mississippi Theodore Presser Co.
Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4...(+)
Orchestra 2 Bassoons, 2
Oboes, 3 Clarinets, 3
Flutes, 3 Trombones, 3
Trumpets, 4 Horns, Bass
Drum, Contra-bassoon,
Cymbal, English Horn,
Percussion: Snare Drum,
Strings, Timpani, Tuba
SKU: PR.466411770
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770). UPC:
680160640850. 9 x 12
inches. Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music. $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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