Scarborough Fair Chorale SSAA SSAA, Piano [Octavo] - Intermédiaire Hinshaw Music Inc.
By English Folk Song. Arranged by Anne Marie Hildebrandt. For SSAA Choir (Accomp...(+)
By English Folk Song.
Arranged by Anne Marie
Hildebrandt. For SSAA
Choir (Accompaniment:
Piano). Secular. Medium
Advanced Jr. High/High
School or Medium Adult.
Octavo. Duration 4 min,
10 sec
By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman, Philippe Lescat...(+)
By Jean-Marie Leclair
(1697-1764). Edited by
Jean Saint-Arroman,
Philippe Lescat. 2
violins and continuo. For
Violin. Facsimiles. La
Musique Francaise
Classique de 1650 a 1800.
Grade 0. 74 pages
The Wexford Carol Chorale 3 parties SSA A Cappella [Octavo] Hinshaw Music Inc.
(Traditional Irish). Arranged by Anne Marie Hildebrandt. For SSA choir (a cappel...(+)
(Traditional Irish).
Arranged by Anne Marie
Hildebrandt. For SSA
choir (a cappella).
Advent and Christmas.
Main Key: F Major.
Christmas, Concert and
Sacred. Difficulty:
Medium Advanced (Jr.
High/High School) or
Medium (Adult). Octavo.
12 pages. Duration 4
Vocal and Piano SKU: HL.14043201 Composed by Edvard Brink. Music Sales Am...(+)
Vocal and Piano
SKU:
HL.14043201
Composed
by Edvard Brink. Music
Sales America. Classical.
Softcover. Composed 2014.
Edition Wilhelm Hansen
#WH17746. Published by
Edition Wilhelm Hansen
(HL.14043201).
ISBN
9788759884850.
Ann-
Marie by the Danish
composer Edvard Brink ,
scored for Voice and
Piano. This piece from
'Under Dansk Flag eller
Sommerrejsen 1921'
incorporates text by Karl
Ewert.
Composed by Charles Marie Widor (1844-1937). Edited by Daniel Mitterdorfer and...(+)
Composed by Charles Marie
Widor (1844-1937). Edited
by
Daniel Mitterdorfer and
Harold Fabrikant.
Classical.
Score. Crescendo Music
Publications
#9790-902257060.
Published by Crescendo
Music
Publications
La
memoire, fur viola solo
and und big ensemble.
Composed by Walter
Feldmann. (r)MONSTRUEUSE
VECUT DANS LE CADRE-.
Study score. Composed
2002-2004. 74 pages.
Duration 23 minutes.
Carus Verlag #CV
16.326/07. Published by
Carus Verlag
(CA.1632607).
ISBN
9790007108120. Language:
all
languages.
Commissi
oned by the Ensemble
Intercontemporain In 1989
I first discovered the
writings of Anne-Marie
Albiach. H II lineaires
especially impressed me,
on the one hand through
the sensual presence of
the words, and on the
other hand, above all,
through the spatial
disposition of the
typography. This is a
form of writing which has
nothing to do with all
that has existed before
it. This impression was
the starting point for a
creative work which has
since become a kind of a
project to which I will
dedicate myself
throughout my life. Since
that time of my first
discovery (in which
hundreds of pages of
sketches and a published
excerpt of a score of a
syntagma have been
composed, namely <<
monstrueuse vecut dans le
cadre >> la memoire) I
have attempted to develop
a new musical system that
encompasses all the
parameters of
composition. All of these
works which I have
composed are independent
from this enormous
project, but at the same
time they form the
experimental laboratory
for the all-encompassing
musical system towards
which I am working and
developing: a new system
of determining pitches,
metre, dynamics, musical
diction, manner of
performance, etc. With <<
monstrueuse vecut dans le
cadre >> la memoire it
appears that the research
for this project has been
concluded. After the two
large cycles << Les
Georgiques >> on texts
from Claude Simon and <<
Tristram Shandy >> from
Laurence Sterne, both
employing techniques from
my work with Albiach's
texts, I could finally
compose this work, which
was originally conceived
for voice and 6
instrumental groups - the
system was mastered, so
to speak. Anne-Marie
Albiach's establishes the
genetic code for the
piece, without the words
having to be spoken.. Her
text is, in the true
sense of the word,
measured from one
syntagma (syntactical
element), from one void
(space) to another, and
this results in temporal
structures of ensemble
texture. This is opposed
to another texture, which
is the temporal
measurement of a
recitation of the text by
the author: her voice,
using the range of her
voice, is the viola solo
- a recitation, in its
unique individuality, on
which the cold,
typographical structure
of the ensemble
superimposed. Every time
I read a text of
Anne-Marie Albiach, it
seems to me that she is
saying that which I do.
An extremely rare
coincidence, like that
with the violist Odile
Auboin, the soloist, who
I think works in the same
manner and has the same
approach to things. Score
available separately -
see item CA.1632600.
Piano SKU: HU.HN174 Composed by Franz Liszt. Edited by Ernst Herttrich. Piano S...(+)
Piano
SKU: HU.HN174
Composed by Franz Liszt.
Edited by Ernst
Herttrich. Piano Solo,
Piano and Keyboard,
Repertoire, Collections.
Annees de Pelerinage,
Book 2 - Italy.
Classical, Romantic.
Softcover Book. 64 pages.
G. Henle #HN174.
Published by G. Henle
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800).
ISBN
9790007112745. Language:
all languages.
E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet.
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632809(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn
SKU:
CA.1632809
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. Une Geometrie.
Synchronstudie F Blaser.
Set of Orchestra Parts.
Composed 2005. 100 pages.
Duration 14 minutes.
Carus Verlag #CV
16.328/09. Published by
Carus Verlag
(CA.1632809).
Language: all
languages.
E texts
of the French author
Anne-Marie Albiach have
long been the point of
departure for my works.
Following the viola
concerto << monstrueuse
vecut dans le cadre >> la
memoire, which is based
on her << H II>>
lineaires, the three
texts entitled << une
geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. Score and parts
available separately -
see item CA.1632800.
For
bass flute (alto flute
solo), bass clarinet,
baritonsaxophone, guitar,
2 violins. Composed
by Walter Feldmann.
German title: Vertical Et
Blanc 2006. Playing
score. Composed 2006. 70
pages. Carus Verlag #CV
16.330/00. Published by
Carus Verlag
(CA.1633000).
ISBN
9790007113469. Language:
all languages.
The
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II >> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << vertical et
blanc >> is predicated on
two different readings of
the text: on the one hand
a (private) reading by
Anne-Marie Albiach in
which time is measured
out; while on the other
hand the graphic text is
measured millimeter by
millimeter. The latter
serves as the basis - the
genetic code - for the
temporal, horizontal
structures of the
ensemble part, whereas
the reading of the author
appears late in the
melodic lines of the solo
alto flute, which force
the ensemble to play an
accompaniment in flat
surfaces. In << vertical
et blanc >> one clearly
recognizable element is
repeated: a ninth chord,
the basic element in the
works of Claude Debussy,
the composer who I admire
wholeheartedly. For the
generation of tone
materials this chord is
compressed and stretched
within the ranges
(frames) of tones which
are derived from the
horizontal positions of
the text fragments:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolira le hasard), is
rendered in sound.
Naturally each element of
the text serves to mould
structure and dynamics,
to include the
typography: fragments
within quotation marks,
in italics, etc., yield
different sonorities and
movements. Whereas the
ensemble articulates
rhythmically each
character of the text,
the rhythms of the solo
flute articulate only its
syllables and words. Each
word of the author's
reading of the text is
instrumentated
differently, which is
important for the entire
cycle. Thus a compact
network of instrumental
combinations is created
in which, word for word,
the text is made
audible.
Voice SKU: FZ.52144 Edited by Marie Dubois. Book and CD. Published by Ann...(+)
Voice
SKU:
FZ.52144
Edited by
Marie Dubois. Book and
CD. Published by Anne
Fuzeau Productions -
France (FZ.52144).
ISBN 9782862275529.
13.5 x 20 cm
inches.
Anne Fuzeau
Classique propose books
on music. Only in French.
Un manuel pratique qui
aborde la voix sous ses
aspects technique,
psychologique et
artistique. Trouver sa
voix n'est pas uniquement
le fruit d'une technique
vocale approfondie mais
l'aboutissement d'une
recherche personnelle.
Plus de vingt ans
d'experience du chant ont
permis a Marie Dubois
d'elaborer sa propre
methode d'enseignement :
une part importante de
psychologie et de
sensibilite. une capacite
a dynamiser les chanteurs
quelque soit leur age.
une approche ludique de
la technique vocale. une
connaissance de la scene
pour guider
l'interpretation. Le
Guide du savoir chanter
s'adresse a toute
personne desireuse, pour
des raisons personnelles
et /ou professionnelles,
de developper au mieux
les capacites de sa voix.
Ouvrage disponible chez
Anne Fuzeau Productions
avec l'aimable
autorisation des Editions
Alternatives. Summary:
1ere partie : Envie de
chanter. Introduction.
Chanter fait du bien. Le
plaisir. Chant et
confiance en soi.
Seduire. Le corps et la
voix. Therapie par le
chant. Culture et
communication. 2eme
partie : Mais comment
faire. Introduction.
Differentes methodes
d'entrainement. Etre a
l'aise avec sa voix.
Quelle est ma voix. Les
difficultes courantes.
Bien interpreter. Les
voix d'enfants. 3eme
partie : Osez chanter.
Introduction. Integrer
une chorale. Realiser une
demo. Se produire en
public. Choisir un
professeur ou un coach
artistique. Les filieres
professionnalisantes. Ou
s'informer ?Conclusion.
Lexique. Bibliographie.
Remerciement.
Harpsichord solo SKU: FZ.50531 Composed by Nicolas-Antoine Lebegue. Edite...(+)
Harpsichord solo
SKU:
FZ.50531
Composed by
Nicolas-Antoine Lebegue.
Edited by Marie
Demeilliez. This edition:
Facsimile. La Musique
Francaise Classique de
1650 a 1800. Score.
Published by Anne Fuzeau
Productions - France
(FZ.50531).
ISBN
9790049505314. 22.00 x
30.00 cm
inches.
This
facsimile of an original
by Nicolas-Antoine
Lebegue is part of our
French classical music
collection. Edition : s.
d. =1687. Presentation by
Marie Demeilliez :
Biography - Le second
livre de clavecin -
Bibliography (Description
of conserved editions) -
Manuscript versions and
Concordances table -
Table od contents. This
facsimile reproduces the
copy in the British
Library, the only
complete exemplar. A
modern edition, already
dated, is based on the
incomplete copy from the
Bibliotheque Nationale de
France. This second book
of harpsichord pieces is
interesting for several
reasons: the very typical
pieces of the suite are
classical models most of
them are of limited
difficulty and therefore
playable by young pupils
these pieces date from a
key period during which
both pre-classical
ornamentation (see the
book of motets by
Lebegue) and the emerging
classical ornamentation
were used. The preface by
M. D. is remarkably well
documented. The engraving
is very clear. Anne
Fuzeau Productions have
published all the period
editions of Lebegue's
works: 3 organ books, 2
harpsichord books, one
book of motets.
Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile
of a copy in the British
Library of London
(England). Anne Fuzeau
Classique propose period
copies of classical music
scores.
compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-In...(+)
compiled by Dr. Ed
Whitcomb. For Fiddle.
songbook. Canadian.
Level:
Beginning-Intermediate.
Book. Size 8.75x11.75.
224 pages. Published by
Mel Bay Publications,
Inc.
Continuo SKU: FZ.5999 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.5999
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5999).
ISBN
9790230659994. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
ANONYME - BEMETZRIEDER
Antoine - CORRETTE Michel
- FROESTLER B. - GOURNAY
B. C. - LANGLE
Honore-Francois-Marie -
RODOLPHE Jean-Joseph -
ROUSSIER Pierre-Joseph.
Table of contents:
Roussier Pierre-Joseph:
L'harmonie pratique -
1775. Corrette Michel:
Prototipes contenant des
lecons d'accompagnement -
1775. Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - British
Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Municipal Library of
Grenoble (France). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the continuo.
Continuo SKU: FZ.5995 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.5995
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5995).
ISBN
9790230659956. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
CAMPION Francois -
CAMPION Thomas - CHERON
Andre - CLERAMBAULT
Nicolas - COUPERIN
Francois - DANDRIEU
Jean-Francois - DELAIR
Denis - LECLAIR
Jean-Marie - RAMEAU
Jean-Philippe. Table of
contents: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Conservatory
Library of Dijon
(France). - Nederlands
Muziek Instituut of The
Hague (Netherlands). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the continuo.
Oboe SKU: FZ.5863 Serie II - France 1800-1860. Edited by Michel Gi...(+)
Oboe
SKU: FZ.5863
Serie II - France
1800-1860. Edited by
Michel Giboureau. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5863).
ISBN
9790230658638. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in three books.
Apollon Marie Rose BARRET
- Emile CORRET - Charles
DUPART - Stanislas
VERROUST. Table of
contents: Barret Apollon
Marie Rose: Methode
complete de hautbois -
1850. Corret Emile:
Tablature generale du
hautbois - 1854. Verroust
Stanislas: Methode pour
le hautbois - 1857.
Dupart Charles: Methode
polyphonique - 1859.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - British
Library of London
(England). - National
Library of Paris
(France). Anne Fuzeau
Classique propose the
complete theoretic
documentation, methods,
classical music scores on
the oboe.
Continuo SKU: FZ.6222 Serie I - France 1600-1800. Edited by Jean S...(+)
Continuo
SKU:
FZ.6222
Serie I -
France 1600-1800.
Edited by Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.6222).
ISBN
9790230662222. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in six books.
Volume 1: Anonyme -
BARTOLOTTI A. M. - BOYVIN
J. - BUTERNE J-B. - CARRE
A. Sieur de La Grange -
CHARPENTIER M-A. -
CHAUMONT L. - D'ANGLEBERT
J-H. - DE LA BARRE M. -
DELAIR D. - FLEURY N. -
MARAIS M. - NIVERS G. G.
- PERRINE - SAINT-LAMBERT
M. de. Volume 2: CAMPION
F. - CAMPION T. - CHERON
A. - CLERAMBAULT N. -
COUPERIN F. - DANDRIEU
J-F. - DELAIR D. -
LECLAIR J. -M. - RAMEAU
J. -P. Volume 3: Anonyme
- CAMPION F. - DORNEL A.
- FORQUERAY A. - GERVAIS
L. - GOUDAT - GUILLEMAIN
L. -G. - MONNIER Le Cadet
- MONTECLAIR M. P. de -
PINGRE A-G. - RAMEAU J.
-P. - SERRE DE RIEUX J. -
TELEMANN G. P. - TRAVENOL
L. A. Volume 4: ALEMBERT
J. Le Rond d' -
BLAINVILLE C. H. de -
CORRETTE M. - DUBUGRARRE
- GEMINIANI F S. -
LAPORTE C. de. Volume 5:
BETHISY J-L. de - BIFERI
F. (fils) - CLEMENT C-F.
- DUBREUIL J-J. - GARNIER
H. - GIANOTTI P. -
GOUGELET Madame - LABBET
A. J. - LE BOEUF - RAMEAU
J. -P. - ROUSSIER P-J. -
SIMON S. - TAPRAY J.
Volume 6: Anonyme -
BEMETZRIEDER A. -
CORRETTE M. - FROESTLER
B. - GOURNAY B. C. -
LANGLE H-F-M. - RODOLPHE
J-J. - ROUSSIER P-J.
Table of contents: Volume
1: Fleury Nicolas:
Methode pour apprendre
facilement - 1660.
Bartolotti Angelo
Michele: Table pour
apprendre facilement -
1669. Carre Antoine:
Livre de Guitarre
Contenant Plusieurs
pieces - 1671. Perrine:
Livre de Musique pour le
Lut - 1680. Anonyme:
Petites Reigles
Generalles qui peuvent
servir de methode - 1680.
Nivers Guillaume Gabriel:
Motets a voix seule -
1689. D'Anglebert Jean
Henry: Pieces de clavecin
- 1689. Marais Marin:
Basse-continues des
pieces a une et a deux
Violes - 1689. Anonyme:
(traite abrege
d'accompagnement) - c.
1690. Anonyme: Regles
pour l'Accompagnement -
1690. Delair Denis:
Traite d'accompagnement
pour le theorbe - 1690.
Charpentier Marc Antoine:
Abrege des regles de
l'accompagnement - c.
1692. Chaumont Lambert:
Pieces D'orgue sur les 8
tons - 1695. Buterne
Jean-Baptiste: Petites
Reigles pour
l'accompagnement - 1700.
Boyvin Jacques: Second
livre d'orgue - 1700.
Anonyme: Traite
d'accompagnement du
Clavecin - c. 1700. De La
Barre Michel: Premier
livre de pieces pour la
flute - 1702.
Saint-Lambert Michel de:
Nouveau Traite de
l'accompagnement - 1707.
Volume 2: Couperin
Francois: Regles pour
l'accompagnement - s. d.
Campion Thomas: Traite
d'accompagnement et de
composition - 1716.
Clerambault Nicolas:
Regles d'accompagnement -
1716. Clerambault
Nicolas: Principes
d'accompagnement - 1716.
Dandrieu Jean Francois:
Principes de
l'accompagnement - 1719.
Rameau Jean-Philippe:
Traite de l'harmonie -
1722. Delair Denis:
Nouveau traite
d'accompagnement - 1724.
Leclair Jean-Marie:
Premier livre de sonates
- 1723. Rameau
Jean-Philippe: Nouveau
systeme de musique
theorique - 1726. Cheron
Andre: Sonates en trio -
1727. Campion Francois:
Lettre du sieur Campion a
un philosophe - 1729.
Campion Thomas: Addition
au traite
d'accompagnement - 1730.
Volume 3: Pingre
Alexandre Gui: Traite de
l'harmonie - s. d. Rameau
Jean-Philippe:
Observations sur la
Methode d'Accompagnement
- 1730. Rameau
Jean-Philippe: Plan
abrege d'une Methode
nouvelle - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier - 1729. Rameau
Jean-Philippe: Replique
du premier Musicien a la
reponse du second - 1730.
Monteclair Michel
Pignolet de: Reponse du
second Musicien au
premier Musicien - 1730.
Rameau Jean-Philippe:
Replique du premier
Musicien a l'ecrit du
second - 1730. Rameau
Jean-Philippe:
Dissertation sur les
differentes metodes -
1732. Gervais Laurent:
Methode pour
l'accompagnement - 1733.
Campion Francois: Second
recueil d'airs - 1734.
Serre de Rieux Jean: Les
dons des Enfans de Latone
- 1734. Telemann Georg
Philipp: Nouveaux
Quatuors en six Suites -
1738. Goudat: Principes
de Laccompagnement -
1738. Travenol Louis
Antoine: Premier livre de
Sonates a violon seul -
1739. Guillemain Louis
Gabriel: Six sonates en
quatuors - 1743. Monnier
le Cadet: L'art de
Toucher le Clavecin dans
son propre caractere - c.
1745. Dornel Antoine: le
Tour du Clavier - 1745.
Forqueray Antoine: Pieces
de Viole avec la Basse
Continue - 1747. Anonyme:
(Methode
d'accompagnement) - s. d.
Volume 4: Alembert Jean
Le Rond d': Elemens de
musique - 1752.
Blainville Charles Henri
de: Essay sur un
troisieme mode - 1751.
Corrette Michel: Le
maitre de Clavecin -
1753. Laporte Claude de:
Traite theorique et
pratique - 1753.
Geminiani Francesco
Saverio: L'art de bien
accompagner - 1754.
Dubugrarre: Methode plus
courte et plus facile -
1754. Volume 5: Tapray
Jean: Abrege de
l'accompagnement - 1755.
Labbet Antoine Joseph et
Leris Antoine de:
Sentiment d'un
Harmoniphile - 1756.
Clement Charles Francois:
Essai sur
l'accompagnement - 1758.
Gianotti Pietro: Le guide
du compositeur - 1759.
Rameau Jean-Philippe:
Code de musique pratique
- 1760. Bethisy
Jean-Laurent de:
Exposition de la theorie
et de la pratique - 1764.
Roussier Pierre-Joseph:
Traite des accords et de
leur succession - 1764.
Le Boeuf: Traite
d'harmonie et regles
d'accompagnement - 1766.
Garnier Honore: Nouvelle
methode pour
l'accompagnement - 1767.
Dubreuil Jean-Jacques:
Manuel harmonique - 1767.
Biferi Francesco Fils:
Traite de musique abrege,
divise en trois parties -
1770. Simon Simon:
Theorie pratique
d'accompagnement - s. d.
Gougelet Madame: Methode
ou abrege des regles -
1771. Volume 6: Roussier
Pierre-Joseph: L'harmonie
pratique - 1775. Corrette
Michel: Prototipes
contenant des lecons
d'accompagnement - 1775.
Anonyme: Abrege des
regles de composition -
1777. Bemetzrieder
Antoine: Nouvelles lecons
de clavecin ou
instructions generales -
1782. Rodolphe
Jean-Joseph: Theorie
d'accompagnement - c.
1785. Gournay B. C. :
Lettre a M. l'abbe
Roussier - 1785. Langle
Honore-Francois-Marie:
Traite de la basse sous
le chant - 1797.
Froestler B. : Traite
d'harmonie et de
modulation - 1800.
Anonyme: Principes de
l'accompagnement - s. d.
Anonyme: Regles
d'accompagnement - s. d.
Collection supervised by
the musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimiles of
copies from: -
Conservatory Library of
Geneva (Switzerland). -
Conservatory Library of
Dijon (France). - Royal
Conservatory of Liege
(Belgique). - Municipal
Library of Bordeaux
(France). - Municipal
Library of Grenoble
(France). - Municipal
Library of Lyon (France).
- National Library of
Paris (France). - Royal
Library of Brussels
(Belgium). -
Sainte-Genevieve Library
of Paris (France). -
British Library of London
(England). - Nederlands
Muziek Instituut of The
Hague (Netherlands). -
Yale University, Music
Library of New Haven
(USA). -
Zentralbibliothek of
Zurich (Switzerland).
Anne Fuzeau Classique
propose the complete
theoretic documentation,
methods, classical music
scores on the
continuo.
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
Guitar - Beginning
SKU: MB.31103M
Third Edition.
Bluegrass, Wire bound.
World. Book and online
audio. 236 pages. Mel Bay
Publications, Inc
#31103M. Published by Mel
Bay Publications, Inc
(MB.31103M).
ISBN
9781513468792. 8.75x11.75
inches.
Adam Granger
self-published the first
edition of
Grangerâ??s Fiddle
Tunes for Guitar in
1979. A second edition
was published in 1994.
Now Mel Bay Publications
presents the third
edition of the
book.
This 236-page book
is the most extensive and
best-documented
collection of fiddle
tunes for the flatpicking
guitar player in
existence, and includes
reels, hoedowns,
hornpipes, rags,
breakdowns, jigs and
slip-jigs, presented in
Southern, Northern,
Irish, Canadian, Texas
and Old-time
styles.
There are 508
fiddle tunes referenced
under 2500 titles and
alternate titles. The
titles are fully indexed,
making the book doubly
valuable as a reference
book and a source
book.
In this new
edition, all tunes are
typeset, instead of being
handwritten as they were
in the previous editions,
making the tabs easier to
read.
The tunes in
Grangerâ??s Fiddle
Tunes for Guitar are
presented in Easytab, a
streamlined tablature
notation system designed
by Adam specifically for
fiddle
tunes.
The book comes
with a link which gives
access to mp3 recordings
by Adam of all 508 tunes,
each played once at a
moderate tempo, with
rhythm on one channel and
lead on the
other.
Also included in
Grangerâ??s Fiddle
Tunes for Guitar are
instructions for reading
Easytab, descriptions of
tune types presented in
the book, and primers on
traditional flatpicking
and rhythm guitar.
Additionally, there are
sections on timing,
ornamentation, technique,
and fingering, as well as
information on tune
sources and a history of
the
collection.
Mel Bay also
offers The Granger
Collection, by Bill
Nicholson, the same 508
tunes in standard music
notation.
Comedy in one act in
verses, with ariettes and
vaudevilles. Composed
by Adolphe Benoît
Blaise and
Marie-Justine-Benoîte
Favart. Edited by Andreas
Münzmay and Janine
Droese. This edition:
Edition of selected
works, Urtext edition.
Linen. Spectrum of
European Music Theatre in
Separate Editions 2.
Edition of selected
works, Score, Critical
commentary, USB flash
drive. Baerenreiter
Verlag #BA08812_01.
Published by Baerenreiter
Verlag (BA.BA08812-01).
ISBN 9790006543182.
33.1 x 26.5 cm inches.
Text Language: French.
Preface: Münzmay,
Andreas. Text: nach
Jean-Francois
Marmontel.
Annette
et Lubin
Justine
Favart and Adolphe
Blaise'sAnnette et
Lubinwas premiered on 15
February 1762 at the
Paris Opera-Comique - the
first new production at
that theater following
its merger with the
Comedie-Italien. It was a
resounding success: by
the time the season came
to an end, on 3 April, it
had been almost
continuously on the
program with no decline
in interest from the
public, and it remained
in the repertoire for
more than thirty years.
Countless new editions,
translations, and
parodies of the play bear
witness to its impact far
beyond the borders of
Paris. Like all of
Favart's works, it deals
with the subject of
natural love,
unencumbered by
considerations of money
or social status
endangering it from the
outside through powerful
aristocratic or wealthy
rivals. The plot is based
on a literary model, the
like-named tale by
Jean-Francois Marmontel,
which is in turn based on
a contemporary
occurrence.
Annette and her
cousin Lubin are sharply
reprimanded for their
love by an estate
administrator (Le Bailli)
who himself has designs
on Annette. He takes
advantage of Annette's
illegitimate pregnancy to
extort her: only by
marrying him can she
escape condemnation by
society and the church.
But Annette and her lover
are able to gain the
protection of the local
squire (Le Seigneur), and
the story ends happily
with a conciliatory
gesture from the lord of
the manor.
The
second volume in our
series OPERA, Annette et
Lubin, consists of a
cloth-bound book and an
Edirom file stored on a
USB card in credit-card
format. The number of
simultaneous users of the
edition's digital
component is
unlimited. Further
information on the work
and the OPERA series can
be found at http://www.
opera-edition.com/en/anne
tteetlubin_en.htm.
OPERA: Spectrum
of European Music Theatre
in Separate Editions is
dedicated to critical
editions of outstanding
works of European music
theatre from the 17th to
the 20th centuries.
Compositions of
French, Italian, German,
English, Scandinavian and
Slavic origin are being
edited. These include
specific genres which
have seldom been given
attention in editorial
undertakings until now
and which present their
own editorial problems,
such as ballet, theatre
music, melodrama or
operetta.
A new
feature is the form of
the presentation in
so-called hybrid
editions. While the
scores appear in
traditional cloth-bound
volumes, the musical and
textual sources, the
editions of the dramatic
texts, as well as the
critical commentaries are
prepared and presented on
an electronic platform
(Edirom). Thanks to
this ability to access
the underlying sources,
the editorial decisions
are completely
transparent to the
user.
This
special editorial access
being implemented by
OPERA's editions uses the
software Edirom, which
was developed in a
project of the Deutsche
Forschungsgemeinschaft
(German Research
Foundation) based at the
University of Paderborn.
All components of the
electronic part are
encoded according to the
modern standard of XML.
The text components
follow the standard of
the Text Encoding
Initiative (TEI).
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
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.
Piano SKU: HL.14041307 Composed by Per Norgard. Music Sales America. Clas...(+)
Piano
SKU:
HL.14041307
Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. 14
pages. Edition Wilhelm
Hansen #WH31073.
Published by Edition
Wilhelm Hansen
(HL.14041307).
ISBN
9788759819333.
10.25x14.5x0.052
inches.
Waterways
(Vandveje) -
Three Pieces for Piano by
Per
Nørgård
(2008-09).
Written
for Anne Marie Fjord
Abildskov.
Preface /
Programme
Note The
three small piano pieces
collectively called
WATERWAYS was composed in
2008-2009 for Anne Marie
Fjord Abildskov and they
are dedicated to
her. You will hear
traces of earlier piano
works of mine –
GROOVING from 1968 and
ACHILLEUS AND THE
TORTOISE from 1983
– in these new
pieces.
The first movement
is characterized by
echo-like sounds, which
also appear in GROOVING.
Semitones are overlayered
and soundsimultaniously,
and then they are muted
one by one to give a
reminiscence of the
initial sound. In this
new movement an extra
echo is added, like an
extra skim of the
stone across the
water surface –
three skims,
actually.
In the second
movement you may hear
traces of ACHILLEUS AND
THE TORTOISE. The left
and right hand both play
arpeggio-like scale
patterns. The music is
shimmering, like a
moiré on a water
surface, with constantly
changing, very short
durations. In the
third movement the
pattern of irregular
durations is maintained
and expanded, but only in
fragments – and you
may catch a glimpse of a
new melody
emerging.
Full Score. Composed by Poul Ruders. Music Sales America. Classical. Scor...(+)
Full Score.
Composed by Poul Ruders.
Music Sales America.
Classical. Score Only.
Composed 2017. 80 pages.
Edition Wilhelm Hansen
#WH32201. Published by
Edition Wilhelm Hansen
(HL.232526).
(Edition de 1696). By Dietrich Buxtehude (1637-1707). Edited by Marie Marie Fran...(+)
(Edition de 1696). By
Dietrich Buxtehude
(1637-1707). Edited by
Marie Marie Francoise
Bloch. String Trio. For
Viol, Violin. Facsimiles.
Collection Dominantes.
Grade 0. 124 pages
By Jean-Marie Leclair (1697-1764). Edited by Jean Saint-Arroman. For Violin. Thi...(+)
By Jean-Marie Leclair
(1697-1764). Edited by
Jean Saint-Arroman. For
Violin. This edition:
Facsimile. La Musique
Francaise Classique de
1650 a 1800. Score. 128
pages. Published by Anne
Fuzeau Productions -
France
