Guitar SKU: HL.49010801 From Fantasy No. 6, Op. 21. Composed by Fe...(+)
Guitar
SKU:
HL.49010801
From
Fantasy No. 6, Op.
21. Composed by
Fernando Sor. This
edition: Saddle
stitching. Sheet music.
Gitarren-Archiv (Guitar
Archive). Classical. Op.
21. 12 pages. Schott
Music #GA 350. Published
by Schott Music
(HL.49010801).
Advanced Guitar
Duos. Composed by
Fernando Sor. Edited by
Erik Stenstadvold. This
edition: Saddle-wire
stitching. Sheet music.
Set of parts, New
Critical Edition. 116
pages. MDS (Music
Distribution Services)
#GHE 812. Published by
MDS (Music Distribution
Services) (M7.GHE-812).
ISBN 9783890448121.
English.
This new
critical edition by
leading guitar researcher
Erik Stenstadvold
contains thematic
indexes, comprehensive
critical commentaries
based on sound and
transparent editorial
practice, copious
historical notes,
publishing history, and
some previously
unpublished repertoire.
It has been thoroughly
researched and is
produced to the highest
standards.
Chamber Music Guitar SKU: PR.GHE0810 15 Guitar Solos without Opus Numb...(+)
Chamber Music Guitar
SKU: PR.GHE0810
15 Guitar Solos
without Opus Numbers.
Composed by Fernando Sor.
Edited by Erik
Stenstadvold. Collection.
Theodore Presser Company
#GHE0810. Published by
Theodore Presser Company
(PR.GHE0810).
Guitar solo - Advanced SKU: DZ.DZ-2814 Composed by Fernando Sor. Arranged...(+)
Guitar solo - Advanced
SKU: DZ.DZ-2814
Composed by Fernando Sor.
Arranged by Michel
Beauchamp. Score. 150
pages. Les Productions
d'OZ #DZ 2814. Published
by Les Productions d'OZ
(DZ.DZ-2814).
Leduc.
Classical. Softcover. 35
pages. Alphonse Leduc
#AL29234. Published by
Alphonse Leduc
(HL.48185573).
UPC:
888680854126. 9x12
inches.
“Clas
sical guitarists of the
early 1800s, Mauro
Giuliani, Frenando Sor
and Matteo Carcassi
compiled a substantial
study book for aspiring
guitarists, filling a
large gap. Daniel
Lavialle's revisions in
15 Studies for Guitar
include detailed written
instruction and
fingerings. This
compilation addresses
rhyhtm, counterpoint,
intervals, arpeggios,
scales, variations in key
signatures and time
signatures, chords and
performance directions,
amongst other aspects.
For all aspiring
guitarists, 15 Studies
for Guitar is essential
to improving
technique.&rdquo.
La Negra Tiene Tumbao Ensemble Jazz [Conducteur et Parties séparées] - Facile Alfred Publishing
Arranged by Victor Lopez. Musica y letra por Fernando Osorio y Sergio George. Fo...(+)
Arranged by Victor Lopez.
Musica y letra por
Fernando Osorio y Sergio
George. For Jazz
Ensemble. Jazz Ensemble.
Young Jazz Ensemble.
Level: 2 (Medium Easy)
(grade 2). Conductor
Score & Parts. 94 pages.
Published by Alfred
Publishing.
Arranged by Victor Lopez. Musica y letra por Fernando Osorio y Sergio George. Fo...(+)
Arranged by Victor Lopez.
Musica y letra por
Fernando Osorio y Sergio
George. For Jazz
Ensemble. Jazz Ensemble.
Conductor Score.
Published by Alfred
Publishing.
Molino,
Reghezza, Spazzoli,
Tagliamacco,
Ugoletti. Edited by
Eugenio Della Chiara.
Saddle stitching.
Classical. 32 pages. Ut
Orpheus #CH 216.
Published by Ut Orpheus
(UT.CH-216).
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SET Composed by Giuseppe Verd...(+)
(1.1.1.2/4.0.0.0,str,Bar
solo)
SKU:
TM.02172SET
Composed
by Giuseppe Verdi. Set
Type: D. Set of parts.
Lucks Music Library
#A3079. Published by
Lucks Music Library
(TM.02172SET).
Includes
recitative: Tutto e
deserto. Act II Scene 3
No. 7 Scena ed Aria. Key
of Bb. Score pages
179-184. Sung by Count di
Luna (contains 1 line
sung by Ferrando (Bass)).
See #14133 for longer
extraction.
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SC Composed by Giuseppe Verdi...(+)
(1.1.1.2/4.0.0.0,str,Bar
solo)
SKU:
TM.02172SC
Composed
by Giuseppe Verdi. Score.
Lucks Music Library
#A3079. Published by
Lucks Music Library
(TM.02172SC).
Includes
recitative: Tutto e
deserto. Act II Scene 3
No. 7 Scena ed Aria. Key
of Bb. Score pages
179-184. Sung by Count di
Luna (contains 1 line
sung by Ferrando (Bass)).
See #14133 for longer
extraction.
Composed by
Jean-Maurice Mourat.
Classical. Score.
Editions Combre #C04668.
Published by Editions
Combre (LM.C04668).
ISBN
9790230346689.
MUDA
RRA Alonso : Pavane
d'Alexandre - TARREGA
Francisco : Malaguena
facil - JOHNSON Robert :
Alman - WEISS Silvius
Leopold : Praeludium -
PERNAMBUCO Juan : Chorus
- REUSNER Esaias :
Sarabande - DLUGRAI
Adalbert : Villanella -
DLUGRAI Adalbert : Finale
- REUSNER Esaias : Gigue
- NARVAEZ Jose-Luis :
Cancion del Emperador -
TARREGA Francisco : Tango
- BEDARD Jean-Baptiste :
Folies d'Espagne -
NARVAEZ Jose-Luis :
Guardame las Vacas -
TARREGA Francisco : Maria
(Gavotte) - WEISS Silvius
Leopold : Fantaisie - SOR
Fernando : Etude -
DOWLAND John : Sir John
Smith His Almaine -
SCARLATTI Domenico :
Sonate L.483 - MUDARRA
Alonso : Fantasia - WEISS
Silvius Leopold : Tombeau
(sur la mort de M. Comte
de Logy arrivee 1721) -
CAMPION Francois : Air -
CAMPION Francois : Gigue
- SANZ Gaspar : Canarios
- RONCALLI Ludovico :
Passacaglia - RONCALLI
Ludovico : Gigue - BACH
Johann Sebastian :
Sarabande - FRESCOBALDI
Girolamo : La
Frescobalda.
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
Organ SKU: BR.EB-9300 (Plainte sur la perte de la reflexion musicale)<...(+)
Organ
SKU:
BR.EB-9300
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Arranged
by A. Digby and M.
Sattelberger. Solo
instruments; stapled.
Edition Breitkopf. World
premieres: I version for
flute: Wiesbaden, 1972.
Music post-1945; New
music (post-2000). Score.
Composed 1972. 20 pages.
Duration 20'. Breitkopf
and Haertel #EB 9300.
Published by Breitkopf
and Haertel (BR.EB-9300).
ISBN 9790004187647. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: Stuttgart,
Hospitalkirche, March 28,
2018.
With Diction Coach and Accompaniment Audio Online G. Schirmer Opera Anthology. E...(+)
With Diction Coach and
Accompaniment Audio
Online G. Schirmer Opera
Anthology. Edited by
Robert L. Larsen. Vocal
Collection. Opera,
Classical. Softcover
Audio Online. 288 pages.
Published by G. Schirmer
Arias for Mezzo-Soprano. Composed by Various. Vocal Collection. Opera, Classical...(+)
Arias for Mezzo-Soprano.
Composed by Various.
Vocal Collection. Opera,
Classical. Softcover
Audio Online. 60 pages.
G. Schirmer #ED4404.
Published by G. Schirmer