Piano - Grade 1 SKU: BT.RSK200139 RSL Classical Piano. Tuition. Book with...(+)
Piano - Grade 1
SKU:
BT.RSK200139
RSL
Classical Piano. Tuition.
Book with Online Audio.
Composed 2020. Rockschool
#RSK200139. Published by
Rockschool
(BT.RSK200139).
ISBN
9781789361933.
English.
The new
RSL Classical Piano
syllabus aims to reflect
the widening tastes of
young people, positioning
itself at the forefront
of the vast array of
music available to
pianists, encompassing
the rich heritage of
music from theBaroque
right through to the
modern day and emerging
composers. The repertoire
strikes a balance between
a radical redesign and
maintaining a
recognisable structure,
and sticks to four key
principles: championing
ethnicallydiverse
composers, representing
genders, acknowledging
the history and tradition
of piano learning, and
enabling students to feel
comfortable studying
music in a popular and
classical environment.
The syllabus books
are allbeautifully
presented, and to the
high standard for which
RSL books have become
renowned from their
market-leading Rockschool
examinations for
contemporary music. Each
contains 10 pieces from a
diverse range of
composers andinclude
everything students need
to take their exams,
including technical
exercises and supporting
texts for sight-reading,
ear tests and general
musicianship
questions.
Piano SKU: HL.360542 Book and Audio Online. Piano Solo Songbook. C...(+)
Piano
SKU:
HL.360542
Book and
Audio Online. Piano
Solo Songbook. Classical.
Softcover Audio Online.
Rockschool #RSK200139.
Published by Rockschool
(HL.360542).
9.0x12.0
inches.
The new RSL
Classical Piano syllabus
aims to reflect the
widening tastes of young
people, positioning
itself at the forefront
of thevast array of music
available to pianists,
encompassing the rich
heritage of music from
theBaroque right through
to the modern day and
emerging composers. The
repertoire strikes a
balance between a radical
redesign and maintaining
a recognisable structure,
and sticks to four key
principles: championing
ethnicallydiverse
composers, representing
genders, acknowledging
the history and tradition
of piano learning, and
enabling students to feel
comfortable studying
music in a popular and
classical environment.
The syllabus books are
allbeautifully presented,
and to the high standard
for which RSL books have
become renowned from
their market-leading
Rockschool examinations
for contemporary music.
Each contains 10 pieces
from a diverse range of
composers andinclude
everything students need
to take their exams,
including technical
exercises and supporting
texts for sight-reading,
ear tests and general
musicianship
questions.
Piano SKU: HL.360541 Book and Audio Online. Piano Solo Songbook. C...(+)
Piano
SKU:
HL.360541
Book and
Audio Online. Piano
Solo Songbook. Classical.
Softcover Audio Online.
Rockschool #RSK200138.
Published by Rockschool
(HL.360541).
9.0x12.0
inches.
The new RSL
Classical Piano syllabus
aims to reflect the
widening tastes of young
people, positioning
itself at the forefront
of thevast array of music
available to pianists,
encompassing the rich
heritage of music from
theBaroque right through
to the modern day and
emerging composers. The
repertoire strikes a
balance between a radical
redesign and maintaining
a recognisable structure,
and sticks to four key
principles: championing
ethnicallydiverse
composers, representing
genders, acknowledging
the history and tradition
of piano learning, and
enabling students to feel
comfortable studying
music in a popular and
classical environment.
The syllabus books are
allbeautifully presented,
and to the high standard
for which RSL books have
become renowned from
their market-leading
Rockschool examinations
for contemporary music.
Each contains 10 pieces
from a diverse range of
composers andinclude
everything students need
to take their exams,
including technical
exercises and supporting
texts for sight-reading,
ear tests and general
musicianship
questions.
Piano seul [Partition] - Débutant Faber Music Limited
(Technique and Artistry, Book 1). By Nancy Faber and Randall Faber. For Piano. F...(+)
(Technique and Artistry,
Book 1). By Nancy Faber
and Randall Faber. For
Piano. Faber Piano
Adventures®. Methods.
SMP Level 1 (Elementary).
Softcover. 64 pages.
Faber Music #FF1420.
Published by Faber Music
(x). For Piano/Vocal/Guitar. This edition: Piano/Vocal/Guitar. P/V/C Mixed Folio...(+)
(x). For
Piano/Vocal/Guitar. This
edition:
Piano/Vocal/Guitar. P/V/C
Mixed Folio. 2000-2009
Best. Movie. Book. 256
pages. Published by
Alfred Music Publishing
Piano SKU: HL.14015065 Composed by Haflidi Hallgrimsson. Music Sales Amer...(+)
Piano
SKU:
HL.14015065
Composed
by Haflidi Hallgrimsson.
Music Sales America.
Classical. Book
[Softcover]. Composed
2002. Chester Music
#CH60927. Published by
Chester Music
(HL.14015065).
ISBN
9780711935310.
Sket
ches In Time by Haflidi
Hallgrimsson, seven short
pieces for young
pianists, encompassing a
wide range of styles from
the quiet and atmospheric
Venetian Waltz to lyrical
pieces such as My Own
Song. For the student to
develop a strong sense of
rhythm.
(Nine Decades of Unforgettable Music). Arranged by Dan Coates. For Piano. This e...(+)
(Nine Decades of
Unforgettable Music).
Arranged by Dan Coates.
For Piano. This edition:
Easy Piano. Book; Piano -
Easy Piano Collection;
Piano Supplemental.
Movie; Pop. Easy Piano.
180 pages. Published by
Alfred Music
German Dances Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-6734 Piano Lessons by Ludwig van Beethoven. Compo...(+)
Piano
SKU:
BR.EB-6734
Piano
Lessons by Ludwig van
Beethoven. Composed
by Ludwig van Beethoven.
Edited by Heinz Walter.
Solo instruments;
Softcover. Edition
Breitkopf.
Dances/marches;
Classical. Score. 16
pages. Breitkopf and
Haertel #EB 6734.
Published by Breitkopf
and Haertel (BR.EB-6734).
ISBN 9790004169360. 9
x 12 inches.
This
series of easy piano
pieces for teaching
purposes presents pupils
in the early and
early-middle stages with
a careful selection from
well-known and less-known
compositions by important
masters. The individual
volumes are deliberately
kept small in compass,
since it is more
stimulating for children
if the literature used
for instruction is
changed frequently.
Between 1795 and 1802,
Beethoven composed a
large number of German
dances, contredances and
minuets. He made simple
piano reductions of a
considerable proportion
of these occasional
compositions. The
selection of the present
pieces was made on the
basis of the compositions
that seemed most suitable
for the piano. The piano
arrangements are based on
the scores and the
original piano
reductions, and the marks
of interpretation have
been retained. The
working-out of more
finely-differentiated
interpretations is left
to the performer studying
the pieces. These
grateful little pieces
are equally suitable as
studies and as recital
pieces. Heinz Walter,
Salzburg, Fall 1974.
Voice, recorder, piano and guitar - Moderate to Intermediate SKU: FP.FPT02(+)
Voice, recorder, piano
and guitar - Moderate to
Intermediate
SKU:
FP.FPT02
Composed by
Thomas Pitfield.
Published by Forsyths
Publications (FP.FPT02).
ISBN
979-0-57050-253-0.
Selected songs spanning
50 years demonstrating
Pitfield's distinctive
voice, to be cherished
for its precision of
technique and delicacy of
effect. John McCabe
writes if Pitfield had
written only the first
song in the book, Cuckoo
and Chestnut Time, he
would have earned our
gratitude for that
perfect little gem alone!
Also contains the
composer's own
illustrations. Thomas
Pitfield had the gift for
memorable tunes, often
couched in somewhat
French-sounding harmonic
and decorative idiom. He
admired Vaughan Williams,
Grainger and Delius and
their influence can be
felt in his works.
Concert Band - Grade 2 SKU: AP.24735S Composed by Kevin Mixon. Concert Ba...(+)
Concert Band - Grade 2
SKU: AP.24735S
Composed by Kevin Mixon.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Young
Band. Programmatic.
Score. 32 pages. Belwin
Music #00-24735S.
Published by Belwin Music
(AP.24735S).
UPC:
038081268668.
English.
This
substantive four-movement
suite encompasses several
musical styles: legato,
swing, march, and more,
with a spirited bravura
conclusion that students
and audiences will love.
The contrasting movements
include the lyrical River
Echoes, the jazzy
Railroads, the
hard-driving Machines
section, and the
climactic Traditions
finale. Though written to
represent central
Illinois, each movement
references significant
events encompassing
several periods in U.S.
history. Kevin Mixon's
River Valley Legacy
offers abundant
opportunities for
cross-curricular
instruction with a piece
that is sure to be a
favorite at your next
concert.
10 easy arrangements of well known pieces from the last five centuries. Compos...(+)
10 easy arrangements of
well
known pieces from the
last
five centuries. Composed
by
Various. Universal
Edition
#UE037994. Published by
Universal Edition
12 pieces plus exercises for Trinity College London exams 2021-2023. Composed ...(+)
12 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020284. Published by
Trinity College London
Entry of the Noblemen Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Ralph Ford. By Ralph Ford. For Concert Band. Concert Band. Belwin Very Beginn...(+)
By Ralph Ford. By Ralph
Ford. For Concert Band.
Concert Band. Belwin Very
Beginning Band. Level: .5
(Very Easy) (grade .5).
Conductor Score and
Parts. Published by
Alfred Publishing.
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
SKU: BA.BVK02308 March 1841 to August 1842. Composed by Felix Bart...(+)
SKU: BA.BVK02308
March 1841 to August
1842. Composed by
Felix Bartholdy
Mendelssohn. Edited by
Christoph Koop, Helmut
Loos, Sebastian
Schmideler, Susanne
Tomkovic, and Wilhelm
Seidel. Linen. Book.
Baerenreiter Verlag
#BVK02308_00. Published
by Baerenreiter Verlag
(BA.BVK02308).
ISBN
9783761823088. 23.5 x 16
cm inches. Preface:
Seidel,
Wilhelm.
Felix
Mendelssohn Bartholdy as
letter-writer: at the
heart of 19th century
European
culture
As one of
the most important
letter-writers of the
19th century, Felix
Mendelssohn Bartholdy
maintained an extensive
correspondence. With
great style and eloquence
he wrote letters to
friends and family,
letters from his travels
and he also wrote to
leading composers,
musicians, artists as
well as publishers. He
corresponded with famous
contemporaries such as
Robert Schumann, Franz
Liszt and Richard Wagner
as well as Johann
Wolfgang von Goethe, Carl
Friedrich Zelter and
Alexander von
Humboldt.
The
correspondence begins in
1816 and ends in 1847
with the
composer’s death.
These letters are
invaluable documents
shedding light not only
on the genesis,
publication and revision
of his musical works, but
also on a period when
relations between
Christians and Jews still
had a chance to become
harmonious, as Moses
Mendelssohn, the imminent
scholar and grandfather
of the composer had
advocated.
This
edition will therefore be
of great interest far
beyond the circles of
musicologists and music
specialists. It will
appeal to those who are
interested in the history
of culture and ideas and
to those who perceive
Mendelssohn and his
family as representatives
of a unique, diverse
cultural epoch.
The complete
correspondence shows that
Mendelssohn not only went
on to become one of the
leading figures of German
musical culture in the
1840s, but that he also
maintained a network of
musical contacts
throughout
Europe.
The
edition of the complete
letters This
scholarly-critical
complete edition
comprises 5,855 letters
by Felix Mendelssohn
Bartholdy. Previously
only a small part of his
correspondence had been
published and made
accessible to the public.
The complete edition is
based on Mendelssohn
letters which have been
compiled over decades by
Rudolf Elvers as well as
on international research
carried out by an
academic workgroup in
Leipzig spearheaded by
chief editors Helmut Loos
and Wilhelm Seidel. They
determined 500 additional
letters hitherto
unknown.
Versions
of the letter texts have
been compiled from a
scholarly-critical
analysis of the sources,
their historical context
has been discussed and
comments on all points in
need of explanation have
been made.
This
edition of the complete
letters consists of 12
volumes and a CD-ROM.
Each volume contains
indices of mentioned
individuals and
institutions,
compositions by Felix
Mendelssohn Bartholdy and
Fanny Hensel as well as a
register of place names
and currencies. In this
way one obtains an
all-encompassing view of
this unique historical
cosmos.
The
Complete edition has been
produced to the highest
standards in terms of
layout, cover and
binding. It is an ideal
collector’s item
for bibliophiles,
providing an excellent
means for studying the
composer and the period
in which he
lived.
The CD-ROM
forms a valuable addition
to the printed volumes.
It offers the complete
printed edition in the
form of pdf. files,
thereby making its
approximately 9,500 pages
digitally accessible and
enabling letters and the
corresponding commentary
to be read in parallel.
All terms can be located
quickly and conveniently
via a full text
search. (The 12
volumes as well as the
CD-ROM can only be
purchased
complete).
-
German text
only
The
Editors Helmut Loos is
Professor of Musicology
at the University of
Leipzig. He specialises
in the music of the 19th
and 20th centuries, in
particular the reception
of Beethoven, sacred
music and links between
Germany and Central and
Eastern Europe.
Wilhelm Seidel was
professor at the
universities of
Heidelberg, Marburg and
Leipzig. His publications
are devoted to the
temporal structure of
music, music aesthetics
in the 18th and 19th
centuries and music of
the 16th to 20th
centuries, currently on
Mozart and
Mendelssohn.
21 pieces plus exercises for Trinity College London exams 2021-2023. Compose...(+)
21 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020512. Published by
Trinity College London