Composed by Sally Adams. Method/Instruction; Recorder Collection. Faber Edition:...(+)
Composed by Sally Adams.
Method/Instruction;
Recorder Collection.
Faber Edition: Concert
Repertoire. Book. Faber
Music #12-0571523862.
Published by Faber Music
Recorder and Piano - Advanced SKU: FP.FDD02 Composed by David Dubery. She...(+)
Recorder and Piano -
Advanced
SKU:
FP.FDD02
Composed by
David Dubery. Sheet Music
and Books. An evocative
piece for treble recorder
or oboe and piano
inspired by two historic
Stockport landmarks.
Classical. Collection.
Forsyths Publications
#FDD02. Published by
Forsyths Publications
(FP.FDD02).
ISBN
9790570503834.
Vern
on Park,
Stockport’s oldest
park, was created on land
donated by Lord Vernon
(George John Warren). It
was built by poor mill
workers who called it
pinch-belly park and
opened on 20th September
1858. Comprising
twenty-one acres, it
houses a museum, a
bandstand, ornamental
fountains, a fernery,
rockery, borders and
sunken rose garden as
well terraced walkways
that overlook the river
and weir. The piece
depicts a solitary walker
engrossed in his own
thoughts on a
winter’s day, the
landscape, and the
park’s Victorian
past.
At the very
end of the piece a
reminder of the
park’s Victorian
origins can be detected
in a quote from
Elgar’s Salut
d’amour of 1899,
which may well have been
played by a band in the
bandstand. Stockport
market celebrated its
750th anniversary in
2010. It dated back to
September 1260 when a
Royal Charter allowed
Robert de Stokeport, the
Mayor, to hold a weekly
market within the
defensive walls of the
Norman Castle on the
present site of Castle
Yard.
The Glass
Umbrella was a popular
name given to the 1861
covered market built of
timber, glass and iron -
nine bays with open sides
and a glass canopy. In
1912, one bay was removed
to enable electric trams
and trolley buses to turn
a sharp
corner.
The piece
depicts a lively market
day, the multiculturalism
of the present day and
the old cries of pick and
pay without delay. The
bells of St Mary’s
Church are depicted by a
cascading peel tuned to
the ten bells of the
church tower, and a
fleeting reference to
John Wainwright’s
famous Christmas hymn
Christians Awake, and the
Westminster chimes
striking the hour from St
Mary’s, bring to
piece to a conclusion.
Separate parts are
provided for recorder and
oboe.
Recorder and piano SKU: HL.50510384 For Treble Recorder and Piano....(+)
Recorder and piano
SKU: HL.50510384
For Treble Recorder
and Piano. By Tamar
Bloch. By Various. Edited
by Malina Bloch. Arranged
by Malina Bloch. EMB.
Volume 2. Pedagogical
performance pieces. Book
Only. 31 pages. Editio
Musica Budapest #Z14095.
Published by Editio
Musica Budapest
(HL.50510384).
This volume
contains, in addition to
well-known movements and
pieces, ample material
passing for novelty even
for those initiated
starting from the
Renaissance dances to
present-day Hungarian
folksong arrangements. It
is worth trying to play
from it after one year of
treble recorder studies
already. Besides
beginners intermediary
students can also perform
some of the pieces. For
them the original Baroque
sonata movements may
prove interesting.
Recorder and piano SKU: BR.EB-8609 Urtext. Composed by Antonio Viv...(+)
Recorder and piano
SKU: BR.EB-8609
Urtext. Composed
by Antonio Vivaldi.
Edited by Martin Nitz.
Solo instruments;
stapled. Edition
Breitkopf.
Vivaldi's
only oboe sonata requires
an interpretation, since
the thoroughbass part is
not figured. Thanks to
Martin Nitz's
stylistically authentic
realization and careful
editorial work, this
rather neglected piece is
sure to find many new
friends.
Sonata;
Baroque. Score. 28 pages.
Breitkopf and Haertel #EB
8609. Published by
Breitkopf and Haertel
(BR.EB-8609).
ISBN
9790004179956. 9 x 12
inches.
It is
generally quite easy to
adapt sonatas for Baroque
oboe (and continuo) to
the soprano recorder
since both instruments
have an identical range.
Yet considering the great
popularity of the
previously published
works, it is strange that
Antonio Vivaldi's only
sonata for this
instrument has received
little attention to date.
This edition is based on
a manuscript preserved in
the Sachsische
Landesbibliothek Dresden
under the class. no. Mus.
2389-S-1. The preparation
of the edition entailed
the adjustment of the
accidentals to
present-day practice, and
the realization of the
(unfigured) thoroughbass
part. No slurs were added
to those already
contained in the
manuscript so as to allow
the performer to find his
own solutions. Otherwise
the virtually error-free
manuscript was reproduced
without change. We wish
to thank the directors of
the Sachsische
Landesbibliothek Dresden
for their authorization
to publish the work.
(Hamburg, Fall 1995 -
Martin
Nitz)
Vivaldi's
only oboe sonata requires
an interpretation, since
the thoroughbass part is
not figured. Thanks to
Martin Nitz's
stylistically authentic
realization and careful
editorial work, this
rather neglected piece is
sure to find many new
friends.