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Kenneth Leighton: Sonata For Four Hands Op. 92 1 Piano, 4 mains Music Sales
Piano Duet SKU: HL.14018852 Composed by Kenneth Leighton. Music Sales Ame...(+)
Piano Duet
SKU:
HL.14018852
Composed
by Kenneth Leighton.
Music Sales America.
Classical. Book
[Softcover]. Music Sales
#NOV100349. Published by
Music Sales
(HL.14018852).
ISBN
9780853609308.
Pian
o duet score. 1st
performance Ellesmere
College, January 1986 by
Richard Markham and David
Nettle. Duration c.24
minutes. The work is in
three movements and the
musical thought is
symphonic. The first
movement (based entirely
on the opening motive)
goes through a series of
paragraphs which
eventually culminate in
an extended melodic line
played entirely by the
treble player. The middle
movement is a playful
Scherzo with a rather
sardonic waltz for its
Trio. The slow movement
(which comes last) is
much more relaxed and
concentrates on a D major
motive with sharpened
fourths, but the more
intense moods of the
first movement return in
a suddenly impassioned
middle section.
$33.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Edward Gregson: Sonata For Four Trombones (Parts) Quatuor de cuivres: 4 trombones Music Sales
4 Trombones - intermediate-advanced SKU: HL.14009567 Composed by Edward G...(+)
4 Trombones -
intermediate-advanced
SKU: HL.14009567
Composed by Edward
Gregson. Music Sales
America. Post-1900. Book
[Softcover]. Music Sales
#NOV360064. Published by
Music Sales
(HL.14009567).
8.25x11.75x0.234
inches.
A bold and
majestic work, Gregson's
Sonata For Four Trombones
is a challenging work
which is guaranteed to
impress. Available here
are the four separate
Trombone parts.
$47.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Sonata For Clarinet and Cello Clarinette, Violoncelle (duo) [Partie séparée] Oxford University Press
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
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
Waldstein Sonata * Complete Original * with Performance CD Piano seul [Partition + CD] Santorella Publications
Waldstein Sonata * Complete Original * with Performance CD composed by Ludwig va...(+)
Waldstein Sonata *
Complete Original * with
Performance CD composed
by Ludwig van Beethoven
(1770-1827). For piano
solo. This edition:
Paperback. Solo.
Classical. Book and CD.
Text Language: English.
70 pages. Published by
Santorella Publications
$14.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Works for Violin and Piano (1): Sonatas for Violin and Piano Violon et Piano Barenreiter
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
$394.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Sonata Clarinette Basse, Piano Alea Publishing
Composed by Arthur Gottschalk. For bass clarinet and piano. Classical; 21st cent...(+)
Composed by Arthur
Gottschalk. For bass
clarinet and piano.
Classical; 21st century.
Piano score and part.
Composed 2009. 30 pages
(score); 12 pages (part).
Published by Alea
Publishing
$20.00 - Voir plus => Acheter Délais: 4 to 6 weeks
English Music for Clarinet & Piano CD only [CD d'écoute] Mark Custom Music
By Vic Chiodo, clarinet. For Clarinet & Piano. Classical. Performance CD. Publis...(+)
By Vic Chiodo, clarinet.
For Clarinet & Piano.
Classical. Performance
CD. Published by Mark
Custom Music
$15.00 - Voir plus => Acheter Délais: 4 to 6 weeks
Two Sonatas for Violin and Basso continuo 2 Violons et Basse continue Barenreiter
By Georg Philipp Telemann (1681-1767). Edited by Klaus Hofmann. For violin/basso...(+)
By Georg Philipp Telemann
(1681-1767). Edited by
Klaus Hofmann. For
violin/basso continuo.
This edition: Stapled,
Urtext edition. Stapled.
From Essercizii musici.
Performance score, Set of
parts. Language:
German/English. TWV
41:F4, TWV 41:A6. 19/11/9
pages. Published by
Baerenreiter Verlag
$28.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Sonata for Pianoforte and Violin in F major, op. 24 "Spring Sonata" Violon et Piano Barenreiter
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edit...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited
by Clive Brown. This
edition:
urtext edition. Stapled.
Barenreiter Urtext.
Performance score,
Part(s)
(2). Opus 24.
Baerenreiter
Verlag #BA10937.
Published by
Baerenreiter Verlag
$18.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Sonata Alto seul [Conducteur] Universal Edition
By Ernst Krenek (1900-1991). For Viola. Performance Score. Published by Universa...(+)
By Ernst Krenek
(1900-1991). For Viola.
Performance Score.
Published by Universal
Edition
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Johann Sebastian Bach: Flute sonatas, volume I (The four authentic sonatas with Violoncello part) Flûte, Violoncelle, Piano (trio) [Partition] G. Henle
Four Authentic Sonatas - with a Violoncello Part. By Johann Sebastian Bach. Edit...(+)
Four Authentic Sonatas -
with a Violoncello Part.
By Johann Sebastian Bach.
Edited by H. Eppstein.
Flute. Pages: Score = VII
and 60 * Fl Part = 22 *
Vc Part = 7. Urtext
edition without
fingering-paper bound.
Published by G. Henle.
(1) $33.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Sonata da Chiesa, Op 1 nos 1-3 3 Saxophones (trio) [Conducteur et Parties séparées] Forton Music
By Arcangelo Corelli (1653-1713). Arranged by Robert Rainford. For Mixed Woodwin...(+)
By Arcangelo Corelli
(1653-1713). Arranged by
Robert Rainford. For
Mixed Woodwinds
(saxophone). Grade 6.
Score and parts.
Published by Forton Music
$18.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Sonatas for One Piano, Four Hands 1 Piano, 4 mains - Avancé Alfred Publishing
By Wolfgang Amadeus Mozart (1756-1791). Edited by Charles Timbrell. For Piano. B...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Edited by Charles
Timbrell. For Piano.
Book; Duet or Duo;
Masterworks; Piano Duet
(1 Piano, 4 Hands).
Alfred Masterwork
Edition. Form: Sonata.
Classical; Masterwork.
Advanced. 188 pages.
Published by Alfred Music
Publishing
$19.99 - Voir plus => Acheter Délais: 1 to 2 weeks
French Sonata Hautbois, Piano (duo) Forton Music
Composed by Yuri Povolotsky. Score and part. Published by Forton Music (FT.FM543...(+)
Composed by Yuri
Povolotsky. Score and
part. Published by Forton
Music (FT.FM543).
$13.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Charles Weidemann. : Sonata Opus 3 no 3 3 Bassons [Conducteur et Parties séparées] - Intermédiaire Forton Music
By Charles Weidemann. Arranged by Robert Rainford. For bassoon trio. Intermediat...(+)
By Charles Weidemann.
Arranged by Robert
Rainford. For bassoon
trio. Intermediate. Score
and parts. Published by
Forton Music
$12.95 - Voir plus => Acheter Délais: 4 to 6 weeks
4 Sonatas for 2 Violins (RV 68 - 70 - 71 - 77) 2 Violons (duo) EMB (Editio Musica Budapest)
Violin Duet SKU: BT.EMBZ8507 By Arpad Pejtsik. By Antonio Vivaldi. EMB Ea...(+)
Violin Duet
SKU:
BT.EMBZ8507
By Arpad
Pejtsik. By Antonio
Vivaldi. EMB Early
Chamber Music. Book Only.
Composed 1980. 40 pages.
Editio Musica Budapest
#EMBZ8507. Published by
Editio Musica Budapest
(BT.EMBZ8507).
English-German-Hungari
an.
As far as we
know Vivaldi wrote twenty
trio sonatas. Several of
these works are actually
for two parts, as the
continuo merely doubles
one of the two solo
instruments. In the
titles of four of these
trio sonatas ('Suonata da
camera, a 2 violini anco
senza basso se piace',
meaning if desired the
sonata can be played
without the bass part)
Vivaldi himself gave his
approval to the omission
of the third instrument.
In the light of this, the
present publication gives
the four works in the
form of violin duos.We
recommend these
three-movement sonatas,
in a fast-slow-fast
format, for violinists
who are already advanced
in their studies. 1.
Sonata RV 702. Sonata RV
713. SonataRV 684. Sonata
RV 77.
$14.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Complete Sonatas for Keyboard I-IV Piano seul [Conducteur] Barenreiter
Sonaten 1-50 . Composed by Leopold Kozeluch (1747-1818). Edited by Christo...(+)
Sonaten 1-50 .
Composed by Leopold
Kozeluch (1747-1818).
Edited by Christopher
Hogwood. This edition:
urtext edition.
Paperback. Leopold
Kozeluch. Samtliche
Sonaten fur Clavier 1-4.
Set of 4 volumes.
Performance score,
anthology. 807 pages.
Published by Baerenreiter
Verlag (BA.BA9515).
$173.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Sonata in D Major, K. 448 2 Pianos, 4 mains - Avancé Alfred Publishing
Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Maurice Hinson and Al...(+)
Composed by Wolfgang
Amadeus Mozart
(1756-1791). Edited by
Maurice Hinson and
Allison Nelson. For
Piano. This edition: 2
copies required. Book;
Duet or Duo; Masterworks;
Piano Duo (2 Pianos, 4
Hands). Alfred Masterwork
Edition. Form: Sonata.
Classical; Masterwork.
Advanced. 60 pages.
Published by Alfred Music
$9.99 - Voir plus => Acheter Délais: 1 to 2 weeks
VERACINI Four Sonatas for Flute, Alto/Treble Recorder or Violin with Harpsichord Flûte à bec Alto [Partition + CD] Music Minus One
For Recorder (alto), Flute, or Violin. Includes a printed solo part printed on h...(+)
For Recorder (alto),
Flute, or Violin.
Includes a printed solo
part printed on
high-quality ivory paper,
and a compact disc
containing a complete
reference recording in
stereo, with soloist;
then a second version in
digitally mastered stereo
of the orchestral
accompaniment, minus the
soloist. Published by
Music Minus One.
(5) $14.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Niehaus: Sonata For Saxophone Quartet Quatuor de Saxophones: 4 saxophones [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
By Niehaus. For soprano saxophone (optional alto saxophone), alto saxophone, ten...(+)
By Niehaus. For soprano
saxophone (optional alto
saxophone), alto
saxophone, tenor
saxophone, and baritone
saxophone. Saxophone
Quartet. Level: Grade 5.
Published by Kendor Music
Inc.
(1) $16.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Mozart - Sonata K 330 C Also Known As K 300 H Piano seul G. Henle
Piano SKU: HU.HN602 Composed by Wolfgang Amadeus Mozart. Edited by Ernst Herttr...(+)
Piano
SKU: HU.HN602
Composed by Wolfgang
Amadeus Mozart. Edited by
Ernst Herttrich. Piano
Solo, Piano and Keyboard,
Repertoire, Solos. Piano
Sonata C major K. 330
(300h). Classical.
Softcover Book. 17 pages.
G. Henle #HN602.
Published by G. Henle
(HU.HN602).
12.2 x 9.3 x 0.1 inches.
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Sonata (concertino) in A minor 2 Violons et Basse continue [Conducteur] Edition HH
By Giuseppe Torelli. Edited by Michael Talbot. For 2 Violins, basso continuo. Fu...(+)
By Giuseppe Torelli.
Edited by Michael Talbot.
For 2 Violins, basso
continuo. Full score and
parts. Duration 7
minutes. Published by
Edition HH Music
Publishers (U.K. Import).
$23.95 - Voir plus => Acheter Délais: 4 to 6 weeks
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