Arranged by Joan Frey Boytim. Vocal Collection. Piece for the NFMC Vocal event w...(+)
Arranged by Joan Frey
Boytim. Vocal Collection.
Piece for the NFMC Vocal
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Play
Along. Softcover Audio
Online. 88 pages.
Published by Hal Leonard
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
By Various.
Harmonica. Blues,
Country, Folk, Pop, Rock.
Softcover. 336 pages.
Published by Hal Leonard
(HL.300155).
ISBN
9781540061874. UPC:
888680960902. 9.0x12.0
inches.
Play your
favorite harmonica solos
and learn new classics
with this new collection
of songs for 10-hole
diatonic C harp! This
comprehensive songbook
presents an extensive
collection of 140 songs
spanning diverse genres
including blues, rock,
country, folk,
traditional, gospel, and
pop. Curated for
harmonica enthusiasts of
all levels, each song is
meticulously transcribed
with harmonica tabs,
lyrics, and chord
symbols, and skillfully
adapted for various
harmonica positions.
Furthermore, the songbook
offers valuable insights
for performing each piece
in its original key,
along with note-for-note
transcriptions of intros,
licks, and solos by
esteemed harp experts and
virtuosos from varied
musical backgrounds. Add
this new songbook to your
collection today to
unlock the endless
possibilities of your
harmonica!
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
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Revised Edition for Piano Solo with Fingering by 18 Pianists. Composed by Fr...(+)
Revised Edition for Piano
Solo with Fingering by 18
Pianists. Composed by
Franz
Joseph Haydn (1732-1809).
Edited by Georg Feder.
Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1338.
Published by G. Henle
Flute, harp and orchestra (Fl-solo, harp-solo, 2 Ob, 2 Hn, Str) SKU: BA.BA045...(+)
Flute, harp and orchestra
(Fl-solo, harp-solo, 2
Ob, 2 Hn, Str)
SKU:
BA.BA04598-01
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Giegling. This
edition: complete
edition, urtext edition.
Linen. New Mozart Edition
(Neue Mozart Ausgabe -
NMA) Series II, Vol. 14,
No. 6. Complete edition,
Score. K. 299(297c).
Duration 30 minutes.
Baerenreiter Verlag
#BA04598_01. Published by
Baerenreiter Verlag
(BA.BA04598-01).
ISBN
9790006451470. 33 x 25.9
cm inches. Key: C
major.
Floten-Harfe
n-Konzert. Urtext der
Neuen Mozart-Ausgabe.
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
Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
Choir Secular (SATB choir) SKU: AP.51237 Composed by Liz Rose and Taylor ...(+)
Choir Secular (SATB
choir)
SKU:
AP.51237
Composed by
Liz Rose and Taylor
Swift. Arranged by Bryan
Sharpe. Performance Music
Ensemble; Single Titles.
Alfred Pop Choral Series.
Contemporary A Cappella;
Country; Pop; Radio;
Secular. Choral Octavo.
24 pages. Alfred Music
#00-51237. Published by
Alfred Music (AP.51237).
UPC: 038081582740.
English.
A Taylor
Swift hit in three
voicings! Bryan's
contemporary a cappella
arrangement bubbles with
youthful charm. There's
no divisi, but a full
palette of choral colors
is on display. A featured
soloist is accompanied in
a variety of ways by the
other voices as they
imitate instruments of a
pop band. It's a blast
from start to finish.
About Alfred
Pop Choral
Series
The
Alfred Pop Series
features outstanding
arrangements of songs
from the popular music
genre. These publications
provide exciting,
contemporary, and
educationally-sound
arrangements for singers
of all ages, from
elementary through high
school, to college and
adult choirs.
(Special Deluxe Edition with DVD and 2 CDs). For Guitar (Guitar). Music Sales Am...(+)
(Special Deluxe Edition
with DVD and 2 CDs). For
Guitar (Guitar). Music
Sales America. Rock 'n'
Roll, Rock N Roll. Book
and CD and DVD Package.
Music Sales #DV10065N.
Published by Music Sales
. Book and CD and DVD
Package. Rock 'n' Roll,
Rock N Roll.
(Special Deluxe Edition with DVD and 2 CDs). For Guitar. Music Sales America. Co...(+)
(Special Deluxe Edition
with DVD and 2 CDs). For
Guitar. Music Sales
America. Country,
Bluegrass. Book and CD
and DVD Package. Music
Sales #DV10054N.
Published by Music Sales
Ear Without Fear Piano seul [Partition + Accès audio] Hal Leonard
A Comprehensive Ear-Training Program for Musicians Volume 2. Educational Piano L...(+)
A Comprehensive
Ear-Training Program for
Musicians Volume 2.
Educational Piano
Library. Hal Leonard
Student Piano Library.
Instruction. Softcover
Audio Online. 48 pages.
Published by Hal Leonard
Gospel Harp Harmonica [Partition] - Intermédiaire Mel Bay
By Phil Duncan. By Phil Duncan. For Harmonica (All). Solos. Gospel-old time. Lev...(+)
By Phil Duncan. By Phil
Duncan. For Harmonica
(All). Solos. Gospel-old
time. Level:
Intermediate. Book. 112
pages. Published by Mel
Bay Publications, Inc.
Embraceable You [Conducteur et Parties séparées] Jazz Lines Publications
By Ella Fitzgerald. Edited by Dylan Canterbury, Rob DuBoff and Jeffrey Sultanof....(+)
By Ella Fitzgerald.
Edited by Dylan
Canterbury, Rob DuBoff
and Jeffrey Sultanof.
Arranged by Nelson
Riddle. For orchestra
with vocal solo. Ballad,
Jazz. Medium. Score and
parts. Published by Jazz
Lines Publications
Harmonica (diatonic, cross-harp, or chromatic) - Intermediate SKU: MB.93861(+)
Harmonica (diatonic,
cross-harp, or chromatic)
- Intermediate
SKU:
MB.93861
Diatonic
- Cross-Harp -
Chromatic. Composed
by Phil Duncan. Arranged
by Phil Duncan.
Harmonica: Chromatic,
Squareback saddle stitch,
Style, Harmonica:
Diatonic, Gospel/Sacred,
Solos, Christian. Sacred.
Instrumental solo book.
With standard notation,
chord names and
introductory text. 111
pages. Mel Bay
Publications, Inc #93861.
Published by Mel Bay
Publications, Inc
(MB.93861).
ISBN
9780871666918. UPC:
796279004428. 8.75x11.75
inches.
98 favorite
hymns, gospel songs, and
spirituals arranged in
several different keys
for diatonic, cross harp,
or chromatic harmonica
solo. In notation only.
The book will give many
hours of playing pleasure
to the beginner as well
as the advanced
performer.
Piano (Piano Solo) SKU: HL.51481594 For Piano Solo Op. 2, No. 1. C...(+)
Piano (Piano Solo)
SKU: HL.51481594
For Piano Solo Op. 2,
No. 1. Composed by
Alexander Scriabin.
Edited by Valentina
Rubcova. Henle Music
Folios. Classical.
Softcover. 4 pages. G.
Henle #HN1594. Published
by G. Henle
(HL.51481594).
UPC:
196288215837.
9.0x12.0x0.046
inches.
One of
Scriabin's best-known
piano pieces is also one
of his very first
compositions. He wrote it
when he was only fifteen
years old; when it
appeared in print in
1893, the
twenty-one-year-old was
still so unknown that he
did not receive any
remuneration from the
publisher. The rapturous
etude was soon to enjoy
unprecedented success.
Marked “Andante”, it
is not a virtuoso piece
– but nevertheless it
is a challenge to master
the full-handed chords in
legato and to clearly
work out the upper and
middle parts at the same
time. In the Henle Urtext
edition, Boris Giltburg's
fingerings support this
task in an exemplary
manner. As an etude of
medium difficulty, this
earworm offers a
wonderful introduction to
the piano world of
Scriabin!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages with
a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most
beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
(Book 2). By Rachel Beatty Kahl. Arranged by Rachel Beatty Kahl. For Piano Accom...(+)
(Book 2). By Rachel
Beatty Kahl. Arranged by
Rachel Beatty Kahl. For
Piano Accompaniment.
Music Sales America.
Sacred. 40 pages. Music
Sales #BMC12131.
Published by Music Sales
In 1828 Berlioz
wrote the Huit scènes
de Faust. The work was
soon withdrawn but almost
twenty years later each
of the eight scenes found
a place in the Lgende
dramatique La damnation
de Faust dedicated to
Franz Liszt. The first
part of the Damnation
exposes the figure of
Faust and has an
introductory nature. From
the second part onwards,
the course of action is
largely based on
Goethe’s
drama.
Contrasting
characters and dramatic
effect are of central
importance in
understanding
Berlioz’s musical
thought and his
compositional process.
Magic and fairy tale,
incantations and ghosts,
have been the
ever-recurring themes of
opera since the Baroque.
It is precisely this
fantasy in Berlioz's
Faust, the “Opra de
Concert en Quatre
actsâ€, which comes
very close to the spirit
of Goethe's
presentation.
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