By Boris Berlin. For Piano. Music for the Beginner. Early Elementary. Level: Ear...(+)
By Boris Berlin. For
Piano. Music for the
Beginner. Early
Elementary. Level: Early
Elementary. Book. 40
pages. Published by The
Frederick Harris Music
Company.
By Boris Berlin. For Piano. Music for the Beginner. Early Elementary. Level: Ear...(+)
By Boris Berlin. For
Piano. Music for the
Beginner. Early
Elementary. Level: Early
Elementary. Book. 48
pages. Published by The
Frederick Harris Music
Company.
By Various. Arranged by Harold Owen. For Instruments: 1, 2, or 3 B trumpets (var...(+)
By Various. Arranged by
Harold Owen. For
Instruments: 1, 2, or 3 B
trumpets (varies). Inst;
Coll; Org Ens; Brass Ens
Sacred. 30 pages.
Published by GIA
Publications.
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
Old Tyme Muster Ensemble de Percussions [Conducteur et Parties séparées] - Intermédiaire Tapspace Publications
Three traditional fife and drum tunes arranged for solo snare drum and mallet...(+)
Three traditional fife
and drum tunes arranged
for solo snare drum and
mallet quintet.
Composed by Traditional.
Arranged by Jason Baker.
Score and parts on
CD-ROM. 28 pages.
Duration 7 minutes, 25
seconds (total. Published
by Tapspace Publications
(TA.TSPCE15-018).
Books and Journals SKU: UT.QC-2 Composed by Rohan H. Stewart-MacDonald. H...(+)
Books and Journals
SKU: UT.QC-2
Composed by Rohan H.
Stewart-MacDonald.
Hardback (Cloth Hard
Cover with Jacket).
Quaderni Clementiani.
Classical. Books and
Journals. Ut Orpheus #QC
2. Published by Ut
Orpheus (UT.QC-2).
ISBN 9788881094585.
6.5 x 9.5
inches.
The career
of Muzio Clementi
(1752-1832) spanned the
lives of both Mozart and
Beethoven and was
exceptionally diverse. It
encompassed performing on
the keyboard, conducting,
teaching, business
activities and
composition in the realms
of keyboard, chamber and
orchestral music. This
book focuses on
Clementi’s keyboard
sonatas and aims to shed
new light on their
relationship with the
complex cross-currents of
late eighteenth-century
musical style, both in
England, where Clementi
was active for much of
his career, and the
continent, which he
visited
periodically. The
first chapter summarises
Clementi’s
historical reputation as
it developed in the
nineteenth and twentieth
centuries, and evaluates
the impact on it of the
significant developments
in Clementi scholarship
since 2000. The aim is to
stress the deficiencies
of the established view
of Clementi as a keyboard
pedagogue and to stress
the importance of
liberating him as much as
possible from this
ingrained perception.
This is attempted, in the
remaining chapters,
through close, analytical
readings of a variety of
keyboard sonatas from all
stages of his career,
comparing them with a
range of works by Haydn,
Mozart, Beethoven and
other contemporaries such
as Jan Ladislav Dussek
(1760-1812). The
comparisons are made from
the perspectives of
distinguishing features
of Clementi’s style
such as his unusually
intense deployment of
strict counterpoint in
the later keyboard
sonatas; his cultivation
of irregularity in
recapitulations; his use
of the
‘three-key’
exposition in the
middle-to-later stages of
his career that seems to
anticipate
nineteenth-century
developments, and also
his assimilation of
heightened virtuosity
into the earlier sonatas,
often in the form of
cadenzas more suggestive
of the keyboard concerto
a genre Clementi
seems, rather strangely,
to have neglected. The
book has been envisaged
as a direct response, not
only to the most recent
scholarship on Clementi,
but also to current
approaches to
eighteenth-century music
in general, including the
interdisciplinary work of
Annette Richards.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Mass; Classical. Part.
Composed 1780. 12 pages.
Duration 20'. Breitkopf
and Haertel #OB 5329-16.
Published by Breitkopf
and Haertel
(BR.OB-5329-16).
ISBN
9790004333549. 10 x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Stapled.
Chor-Bibliothek (Choral
Library). Mass;
Classical. Choral score.
Composed 1780. 44 pages.
Duration 20'. Breitkopf
and Haertel #ChB 5289-02.
Published by Breitkopf
and Haertel
(BR.CHB-5289-02).
ISBN
9790004412046. 7.5 x 10.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Franz
Beyer. Choir; Softbound.
Partitur-Bibliothek
(Score Library). Mass;
Classical. Full score.
Composed 1780. 68 pages.
Duration 20'. Breitkopf
and Haertel #PB 5329.
Published by Breitkopf
and Haertel (BR.PB-5329).
ISBN 9790004210420. 10
x 12.5
inches.
According
to the date inscribed in
Wolfgang Amadeus Mozart's
autograph score, the
present mass was composed
in March 1780. The
instrumental setting
(oboes, trumpets and
timpani add color and
festive splendor to the
work) rightly suggests
that the work was in all
likelihood performed with
the Church Sonata K. 336
at the Easter high mass
in the Salzburg
cathedral. Since
Archbishop Hieronymus
Count Colloredo wanted
the mass text to be
treated as succinctly as
possible, Mozart offered
him a richly orchestrated
Missa solemnis in the
terse form of a Missa
brevis.The brilliant,
festive character of the
Mass K. 337 is abruptly
interrupted by a powerful
Benedictus in a harsh A
minor, the most striking
and revolutionary
movement in all of
Mozart's Masses, in the
strictest contrapuntal
style ... (Alfred
Einstein). What could
have inspired Mozart to
such unexpected rigor?
But there is another
surprise yet: while the
dark drama of the Holy
Week seems to radiate
from this Benedictus, the
following Agnus Dei in
the distant key of E flat
major sounds, with its
soprano solo and
concertante oboe, bassoon
and organ, like a song of
thanksgiving filled with
the warmth and light of
Easter.Other features
worth noting are the
three unisons between the
alto and bass heard at
the Deus pater omnipotens
in the Gloria (bars
22-32), the a cappella
illumination of the words
Jesu Christe found a
little later (bar 62) and
the descending
chromaticism evocative of
death at the Crucifixus
in the Credo.
(Incidentally, Mozart had
initially planned a
different movement for
the Credo of this mass,
superscribed Tempo di
Chiaconna; he wrote out
136 bars but, for some
unknown reason, never
completed it.)While the
Coronation Mass K. 317 of
1779 is one of Mozart's
most well-known mass
settings, its later
composed frllow piece K.
337 - Mozart's last
completed mass before the
great C minor fragment K.
427 (417a) - has been
paid less attention, even
though it is an
outstanding example of
the Mozartian mass type
and contains parallels to
the Coronation Mass in
its disposition and in
the structure of its
various movements. The
score and piano reduction
of this new edition were
prepared on the basis of
the autograph
(Osterreichische
Nationalbibliothek/Vienna
, dass. no. Mus. Hs. 18
97512) and the Salzburg
performance material
(Staats- und
Stadtbibliothek/Augsburg,
dass. no. Hl. Kreuz 9).
We wish to thank both
libraries for putting the
source material at our
disposal.Franz Beyer,
Munich, Spring 1998.
From the Birthday Ode to Queen Mary - April 30, 1694. Composed by Henry P...(+)
From the Birthday Ode
to Queen Mary - April 30,
1694. Composed by
Henry Purcell
(1659-1695). Arranged by
Russell L. Robinson.
Octavo. 8 pages. Duration
1 minute, 52 seconds.
BriLee Music #BL00877.
Published by BriLee Music
(CF.BL877).
Organ (Organ) SKU: HL.14008428 Composed by Sir Peter Maxwell Davies. Musi...(+)
Organ (Organ)
SKU:
HL.14008428
Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Post-1900. Book
[Softcover]. Composed
1999. 8 pages. Chester
Music #CH55170. Published
by Chester Music
(HL.14008428).
8.25x11.75x0.06
inches.
These are
all arrangements of
sixteenth-century
Scottish church music,
beginning with Psalm 124
by David Peebles, which
gains an athletic
counterpoint of Davies's
own. Then comes John
Fethy's O God Abufe
played straight, and
finally an anonymous
motet, All Sons of Adam,
again infiltrated by a
modern voice.
Trombone & Piano - Advanced SKU: CY.CC2404 Composed by Vincent d'Indy. Ar...(+)
Trombone & Piano -
Advanced
SKU:
CY.CC2404
Composed by
Vincent d'Indy. Arranged
by Ralph Sauer. French
Impressionist. Solo part
& Piano. Published by
Cherry Classics
(CY.CC2404).
Paul Marie
Theodore Vincent d'Indy
was born in Paris into an
aristocratic family of
royalist and Catholic
persuasion. He had piano
lessons from an early age
from his paternal
grandmother, who passed
him on to Antoine
Francois Marmontel and
Louis Diemer. His main
influence was Cesar
Franck.
These three
pieces were some of his
many works for
Piano.Opus 33 was
inspired by a trip to
Bayreuth, the musical
home of Wagner and the
Black Forest region.
Opus 33 no. 1 from 1889
is titled ? with no
explanation of itself.
Opus 33 no. 10 is titled
Lermoos, which is a
delightful skiing village
in Austria right on the
border with Germany.
Germany's largest
mountain is in perfect
view, possibly giving the
movement its spirit.
Opus 28 is a Serenade for
Violin and Piano
published in 1900. It is
lithe, subtle and
lyrical.
Euphonium and Piano - advanced SKU: CY.CC2727 Composed by Vincent d'Indy....(+)
Euphonium and Piano -
advanced
SKU:
CY.CC2727
Composed by
Vincent d'Indy. Arranged
by Ralph Sauer. French
Impressionist. Solo part
and piano accompaniment.
Published by Cherry
Classics (CY.CC2727).
Paul Marie
Theodore Vincent d'Indy
was born in Paris into an
aristocratic family of
royalist and Catholic
persuasion. He had piano
lessons from an early age
from his paternal
grandmother, who passed
him on to Antoine
François Marmontel
and Louis Diemer. His
main influence was Cesar
Franck. These three
pieces were some of his
many works for Piano.
Opus 33 was inspired by a
trip to Bayreuth, the
musical home of Wagner
and the Black Forest
region. Opus 33 no. 1
from 1889 is titled ?
with no explanation of
itself. Opus 33 no. 10 is
titled Lermoos, which is
a delightful skiing
village in Austria right
on the border with
Germany. Germany's
largest mountain is in
perfect view, possibly
giving the movement its
spirit. Opus 28 is a
Serenade for Violin and
Piano published in 1900.
It is lithe, subtle and
lyrical.
By Vincent d'Indy (1851-1931). Arranged by Ralph Sauer. For Tuba or Bass Trombon...(+)
By Vincent d'Indy
(1851-1931). Arranged by
Ralph Sauer. For Tuba or
Bass Trombone and PIano.
French Impressionist.
Advanced. Solo part and
Piano. Published by
Cherry Classics