Cello and orchestra (Score) - easy SKU: HL.49006190 En forme de Pas de...(+)
Cello and orchestra
(Score) - easy
SKU:
HL.49006190
En
forme de Pas de
trois. Composed by
Bernd Alois Zimmermann.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed
1965-1966. 104 pages.
Duration 24'. Schott
Music #ED 6329. Published
by Schott Music
(HL.49006190).
ISBN
9790001067300.
8.25x11.75x0.301
inches.
3 (3. auch
Picc.) * 3 (2., 3. auch
Ob. d'am.) * 3 (3. auch
Bassklar.) * Altsax.
(auch Sopransax.) * 3 (3.
auch Kfg.) - 2 * 2 (auch
Cornett in B) * 2 * 1 -
P. (1 Spieler) S. (2
Beck. * 3 hg. Beck. *
Tamb. * Trgl. * Hi-Hat *
3 Tomt. * Ruhrtr. * kl.
Tr. * gr. Tr. * Holztr. *
Ratsche * Peitsche *
Schuttelrohr * Mar. *
Kuhgl. * Gurke * Kast. *
Clav. * Glsp. * Vibr.) (5
Spieler) - Git. (auch
E-Git.) * Mand. * Hfe. *
Klav. (auch Cemb.) *
Glasharfe (Cel.) * Zimbal
- Str. (7 * 7 * 6 * 5 *
4).
Full Orchestra SKU: SU.32040110 For Full Orchestra. Composed by Am...(+)
Full Orchestra
SKU:
SU.32040110
For
Full Orchestra.
Composed by Amy Riebs
Mills. Orchestra. Full
Score. Subito Music
Corporation #32040110.
Published by Subito Music
Corporation
(SU.32040110).
2,1 2,1 2,1 2;
4331; timp, 2perc, cel;
stgs Duration: 8'
Composed: 2012 Published
by: Amy Mills Music, LLC
Creative setting of 3
carols: O Come O Come
Emanuel intertwined with
Ma Navu Ding Dong Merrily
on High with bells,
glock, chimes Angels We
Have Heard on High with
charming mixed meter
Majestic recap of Rejoice
section of O Come O Come
Emanuel Maestro Harvey
Felder, after the
premiere with the Tacoma
Symphony: The thing that
I really appreciated
about your Christmas
Angels and Bells was the
skillful and artistic
writing. As you know,
holiday music typically
offers little or no
musical depth, which
leads to a less than
enthusiastic reaction
from the orchestra. Your
piece offered a level of
musical sophistication
worthy of a professional
symphony while still
creating a festive
holiday spirit. The
orchestra and I enjoyed
having the opportunity to
dig into something
substantive yet fun on
our holiday concert. See
composer website for
audio sample. Performance
materials available on
rental only:.
Tuonelan joutsen -
Urtext based on the
Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 24 pages. Duration
10'. Breitkopf and
Haertel #PB 5583.
Published by Breitkopf
and Haertel (BR.PB-5583).
ISBN 9790004213933. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Definitely the overture
had, it is now known and
loved as The Swan of
Tuonela. Lemminkainen
became popular from the
beginning and has
attained a fixed position
in the concert
repertoire.
Orchestra (2.1.cor
ang.1.B-clar.2 - 4.3.3.0
- perc - str)
SKU:
BR.PB-5584
Lemminkainen
Tuonelassa - Urtext based
on the Complete Edition
Jean Sibelius Works
(JSW). Composed by
Jean Sibelius. Edited by
Tuija Wicklund.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Early modern;
Late-romantic. Full
score. 64 pages. Duration
15'. Breitkopf and
Haertel #PB 5584.
Published by Breitkopf
and Haertel (BR.PB-5584).
ISBN 9790004213940. 10
x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all the four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
material may have found
its way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.Sibelius said
about Lemminkainen in
Tuonela: The cradle song
at the end of the work is
maternal love, which
rakes the pieces of
Lemminkainen together
from the River
Tuonela..
Lemminkainen ja saaren
neidot - Urtext based on
the Complete Edition Jean
Sibelius Works (JSW).
Composed by Jean
Sibelius. Edited by Tuija
Wicklund. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library).
Symphonic poem; Suite;
Late-romantic; Early
modern. Full score. 84
pages. Duration 17'.
Breitkopf and Haertel #PB
5582. Published by
Breitkopf and Haertel
(BR.PB-5582).
ISBN
9790004213926. 10 x 12.5
inches.
Little is
known about the actual
composition process of
Lemminkainen, and the
performance and
publication history is
rather complex, resulting
in a first complete
printing of all four
movements en suite
through the complete
edition of Jean Sibelius
Works only in 2013.In
summer 1894 Sibelius went
to Central Europe,
carrying among others a
plan for an opera freely
based on the Kalevala in
his mind. But during this
trip he reassessed his
composing: I think I have
found my old self again,
musically speaking. I
think I really am a tone
painter and a poet. As a
result he abandoned his
opera plans, but musical
parts may have found
their way into the
Lemminkainen pieces which
he started composing
during that time.
Lemminkainen became
popular from the
beginning and has
attained a fixed position
in the concert
repertoire.A critic
opined on Lemminkainen
and the Maidens on the
Island: We do not
hesitate to award this
tone painting of
Lemminkainen's erotic
emotional world the first
prize among all the young
composer's works..
Orchestra (Orchestra) SKU: HL.48187751 Composed by Wolfgang Amadeus Mozar...(+)
Orchestra (Orchestra)
SKU: HL.48187751
Composed by Wolfgang
Amadeus Mozart. Leduc.
Classical. Softcover. 38
pages. Heugel & Cie
#HE31552. Published by
Heugel & Cie
(HL.48187751).
UPC:
888680868031.
5.5x7.5x0.208
inches.
Mozart
composed two new
symphonies in the Autumn
of 1773, after having
returned to Salzburg from
Vienna. The first of the
two was the
<I>Symphony No.24
In B Flat K.182, and the
second was the Symphony
No.25 in G Minor
K.183<BR><BR>
This symphony was one of
two which Mozart composed
in a minor key ? the
other being the Symphony
No.40 in G Minor
K.550</I>. The
latter can be identified
with some of Mozart?s
most troubled and
agitated music,
reflecting those
difficult moments in his
life. However, the
twenty-fifth symphony is
thought to have been
composed as part of a
sudden wave of minor-key
symphonies which appeared
in the later 1760s and
early 1770s ? among
others were composed by
Vanhal, Ordonez, and
Joseph Haydn.Available
here is the study score
for one of Mozart?s two
symphonies composed in a
minor key, the Symphony
No.25 in G Minor
K.183</I>. This
score is ideal for study
and perusal usage..
Hob. I:49. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:49.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Viola part. 7
pages pages. Published by
Doblinger Music
Publishers
(DB.DM-00249-VA).
Hob. I:25. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:25.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Score. Published
by Doblinger Music
Publishers
(DB.DM-00225-PA).
(Hob. I:39). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:39). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
([0.2.0.1-2.0.0.0],
Harpsichord, Strings).
Orchestral music. Diletto
Musicale. Symphonic
music. Score. 24 pages.
Published by Doblinger
Music Publishers
Hob. I:48,. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. R...(+)
Hob. I:48,.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Set of parts. 133
pages pages. Published by
Doblinger Music
Publishers
(DB.DM-00248-SET).
Hob. I:22. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:22.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Set of parts. 118
pages pages. Published by
Doblinger Music
Publishers
(DB.DM-00222-SET).
(Hob. I:3). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins ...(+)
(Hob. I:3). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
([0.2.0.1-2.0.0.0],
Harpsichord, Strings).
Orchestral music. Diletto
Musicale. Symphonic
music. Score. 19 pages.
Published by Doblinger
Music Publishers
Hob. I:49. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:49.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Cello/contrabass
part. 7 pages pages.
Published by Doblinger
Music Publishers
(DB.DM-00249-C-K).
Hob. I:49. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:49.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Violin 2 part. 8
pages pages. Published by
Doblinger Music
Publishers
(DB.DM-00249-V2).
Hob. I:47. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:47.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Score. 35 pages
pages. Published by
Doblinger Music
Publishers
(DB.DM-00247-PA).
(Hob. I:39). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:39). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
([0.2.0.1-2.0.0.0],
Harpsichord, Strings).
Orchestral music. Diletto
Musicale. Symphonic
music. Set of parts. 113
pages. Published by
Doblinger Music
Publishers
(Hob. I:49). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:49). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
(0,2,0,1-2,0,0,0 -
Strings). Orchestral
music. Set of parts. 126
pages. Published by
Doblinger Music
Publishers
(Hob. I:1). By Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins Landon. F...(+)
(Hob. I:1). By Franz
Joseph Haydn (1732-1809).
Edited by H. C. Robbins
Landon. For orchestra
(0,2,0,1-2,0,0,0 -
Harpsichord - Strings).
Orchestral music. Score.
12 pages. Published by
Doblinger Music
Publishers . score.
Hob. I:25. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:25.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Set of parts. 116
pages pages. Published by
Doblinger Music
Publishers
(DB.DM-00225-SET).
(Hob. I:30). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:30). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
([1.2.0.1-2.0.0.0],
Harpsichord, Strings).
Orchestral music. Diletto
Musicale. Symphonic
music. Score. 16 pages.
Published by Doblinger
Music Publishers
(Hob. I:44). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:44). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
(0,2,0,1-2,0,0,0 -
Strings). Orchestral
music. Set of parts. 141
pages. Published by
Doblinger Music
Publishers
(Hob. I:44). Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Robbins...(+)
(Hob. I:44). Composed by
Franz Joseph Haydn
(1732-1809). Edited by H.
C. Robbins Landon. For
orchestra
(0,2,0,1-2,0,0,0 -
Strings). Orchestral
music. Score. 32 pages.
Published by Doblinger
Music Publishers
Hob. I:22. Composed by Franz Joseph Haydn (1732-1809). Edited by H. C. Ro...(+)
Hob. I:22.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H. C. Robbins Landon.
Orchestral music. Diletto
Musicale. Symphonic
music. Score. 24 pages
pages. Published by
Doblinger Music
Publishers
(DB.DM-00222-PA).
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
(Critical Edition of the Complete Symphonies). By Franz Joseph Haydn (1732-1809)...(+)
(Critical Edition of the
Complete Symphonies). By
Franz Joseph Haydn
(1732-1809). Edited by
H.C. Robbins Landon.
Orchestra. For Orchestra.
Haydn-Mozart Presse.
Standard notation.
Composed 1793. Hob. I:99
For
performance material see
BA 5601-5603.
Composed by Franz
Schubert. Edited by
Arnold Feil and Christa
Landon. This edition:
complete edition, urtext
edition. Linen. New
Schubert Edition (Neue
Ausgabe samtlicher Werke)
Series V, Volume 1.
Complete edition, Score,
anthology. No. 1-3.
Baerenreiter Verlag
#BA05522_00. Published by
Baerenreiter Verlag
(BA.BA05522).
ISBN
9790006472178. 33 x 26 cm
inches.
For
performance material
refer to BA
5601-5603.
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
(Critical Edition of the Complete Symphonies). Composed by Franz Joseph Haydn (1...(+)
(Critical Edition of the
Complete Symphonies).
Composed by Franz Joseph
Haydn (1732-1809). Edited
by H.C. Robbins Landon.
For Orchestra.
Haydn-Mozart Presse.
Standard notation. Hob.
I:59. Duration 22
minutes. Universal
Edition #HM000027.
Published by Universal
Edition
(Critical Edition of the Complete Symphonies). By Franz Joseph Haydn (1732-1809)...(+)
(Critical Edition of the
Complete Symphonies). By
Franz Joseph Haydn
(1732-1809). Arranged by
H.C. Robbins Landon.
Orchestra. For Orchestra.
Haydn-Mozart Presse. Full
score (study). Standard
notation. Hob. I:82.
Duration 23 minutes.
Published by Universal
Edition