| Avenue Q - The Musical [Partition] Applause Books
(The Complete Book and Lyrics of the Broadway Musical). By Jeff Marx and Robert ...(+)
(The Complete Book and
Lyrics of the Broadway
Musical). By Jeff Marx
and Robert Lopez.
Applause Books.
Softcover. 160 pages.
Published by Applause
Books
$18.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lady Gaga : Applause Ensemble Jazz [Conducteur et Parties séparées] - Facile Hal Leonard
By Lady Gaga. Arranged by John Berry. For Jazz Ensemble (Score and Parts). Easy ...(+)
By Lady Gaga. Arranged by
John Berry. For Jazz
Ensemble (Score and
Parts). Easy Jazz
Ensemble Series. Grade 2.
Published by Hal Leonard
$40.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lady Gaga : Applause Ensemble Jazz [Conducteur et Parties séparées] - Facile Hal Leonard
By Lady Gaga. Arranged by John Berry. For Jazz Ensemble (Score and Parts). Easy ...(+)
By Lady Gaga. Arranged by
John Berry. For Jazz
Ensemble (Score and
Parts). Easy Jazz
Ensemble Series. Grade 2.
Published by Hal Leonard
$40.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Applause!, Book 2 Piano seul [CD] Alfred Publishing
Edited by Lynn Freeman Olson. perf. Valery Lloyd-Watts. For Piano. Piano Collect...(+)
Edited by Lynn Freeman
Olson. perf. Valery
Lloyd-Watts. For Piano.
Piano Collection.
Masterwork. CD. Published
by Alfred Publishing.
$10.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| A Little Night Music Paroles Seulement Applause Books
By Stephen Sondheim. Applause Books. Softcover. Size 5.5x8.2 inches. 236 pages. ...(+)
By Stephen Sondheim.
Applause Books.
Softcover. Size 5.5x8.2
inches. 236 pages.
Published by Applause
Books.
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Let's Take the Stage! - Rauf auf's Podium! Violon et Piano [Partition + CD] - Facile EMB (Editio Musica Budapest)
Violin and Piano - easy SKU: BT.EMBZ14935 Easy repertoire pieces for y...(+)
Violin and Piano - easy
SKU: BT.EMBZ14935
Easy repertoire pieces
for young violinists with
CD. By András
Soós. Educational
Tool. Book with CD.
Composed 2015. 36 pages.
Editio Musica Budapest
#EMBZ14935. Published by
Editio Musica Budapest
(BT.EMBZ14935).
Hungarian-English-Germ
an-French. It's an
unforgettable experience
to go on stage for the
first time and win
applause with your
playing. This album
encourages children to
make a first appearance
and gives effective help
in doing so. It brings
together pieces that can
be used to achieve real
success they comprise
easy arrangements of
favorite works by
Dowland, Vivaldi, Handel,
Bach, Haydn, Mozart,
Weber, Schubert,
Schumann, Liszt, and
Brahms. The CD enclosed
with the publication
includes recordings of
the piano accompaniment
for each piece and a full
performance by noted
Hungarian musicians. This
CD makes practice at home
easier and gives
assistance with
performance style as
well. The publication
offers numerouspieces of
advice to young
violinists, including how
to get ready for a
concert, how to control
stage fright, and how to
be confident on stage. In
addition, it has features
some charming
illustrations by Edit
Szalma.
It’s an
unforgettable experience
to go on stage for the
first time and win
applause with your
playing. This album
encourages children to
make a first appearance
and gives effective help
in doing so. It brings
together pieces that can
earn realsuccess: easy
arrangements of favorite
works by Dowland,
Vivaldi, Handel, Bach,
Haydn, Mozart, Weber,
Schubert, Schumann,
Liszt, Anton Rubinstein
and Brahms. The CD
enclosed with the
publication includes
recordings of the piano
accompaniment for
eachpiece and a full
performance by noted
Hungarian musicians. So
the disc makes practice
at home easier and gives
assistance with
performance style as
well. The publication
offers numerous pieces of
advice to young
violinists, including:
how to getready for a
concert, how to control
stage fright, and how to
be confident on stage. In
addition, some charming
illustrations by Edit
Szalma are
included.
Es ist
ein unvergessliches
Erlebnis, wenn wir zum
ersten Mal das Podium
betreten und mit unserem
Spiel Erfolg ernten.
Dieses Album möchte
die Kinder zu ihren
ersten Auftritten
ermuntern und ihnen dazu
eine effektive
Hilfestellung bieten. Es
enthält deshalb lauter
Stücke, mit denen man
wirklich erfolgreich sein
kann: leichte
Transkriptionen der
beliebtesten Werke von
Dowland, Vivaldi,
Händel, Bach, Haydn,
Mozart, Weber, Schubert,
Schumann, Liszt, Anton
Rubinstein und Brahms.
Auf der CD-Beilage des
Albums sind - von
namhaften ungarischen
Interpreten vorgetragen -
die Klavierbegleitung
sämtlicher Stücke
und deren vollständige
Fassung zu hören. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Psalm 100 Chorale SATB SATB Mark Foster Music
By Rene Clausen. Arranged by Drew Collins. For SATB Choir and 2 Pianos or Ensemb...(+)
By Rene Clausen. Arranged
by Drew Collins. For SATB
Choir and 2 Pianos or
Ensemble. Sheet Music.
Published by Mark Foster
Music.
$2.60 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| OperAria Bass Volume 2: lyrisch-dramatisch Piano, Voix Breitkopf & Härtel
Voice and piano SKU: BR.EB-8881 Repertoire Collection. Composed by...(+)
Voice and piano SKU:
BR.EB-8881
Repertoire
Collection. Composed
by Peter Anton Ling.
Edited by Peter Anton
Ling. Voice; Softbound.
Edition Breitkopf. If
only we'd had something
like that ... an album
for practice, a guide for
professional singers as
well as for opera
enthusiasts.(Franz
Mazura, Patron
Bass) Aria; Opera; Classical;
Late-romantic.
Piano/Vocal Score. 120
pages. Breitkopf and
Haertel #EB 8881.
Published by Breitkopf
and Haertel (BR.EB-8881).
ISBN 9790004184714. 9
x 12 inches. German /
English. The
OperAria repertoire
anthology was much
applauded when it came on
stage with three baritone
volumes in 2015. The
successful baritone debut
was followed in 2017/18
by the appearance of the
four soprano volumes,
also conquering hearts in
no time. Now, another
performance: The curtain
rises on the bass
volumes, the foundation
of the vocal family for
heavier, darker voices,
though nevertheless
brilliant and full of
radiance. The
protagonists have such
well-known names as
Bartolo, Don Basilio,
Colline, Don Pasquale,
Falstaff, Figaro, Kecal,
Osmin, Sarastro. Other
heroes less often in the
limelight, such as
Dulcamara, Sancho Pansa,
Phanuel, and Sir Morosus,
can certainly also count
on much applause. It is
my aim to give students a
modern, systematically
structured, well-informed
vocal coach that meets
the demands of
present-day stage
practice. And, of course,
a cohesive repertoire and
logical presentation of
audition arias for every
vocal genre.(Peter Anton
Ling)OperAria is the
ideal vocal coach for all
voice types. Edited by
Peter Anton Ling, the
books address all singers
and are conceived above
all for training and
auditions. In addition,
through their careful
selection, they offer
valuable inspiration for
opera recitals. OperAria
- repertoire anthology of
opera arias according to
vocal criteria (range,
tessitura, specifics,
type of aria) with due
regard to practical
aspects of musical and
theatrical nature (style,
era, role type, national
provenance)with comments
on the ariasinformation
on the composer, the
librettist, the work, the
range and of versions or
casting a short synopsis
of the contents
illuminating the basic
dramatic constellation in
the context of the
opera's plot an
evaluation from the
singer's point of
viewwith phonetic
assistant and text
assistantaria texts in
the original language
spoken by native speakers
as an audio file
(mp3)aria texts in German
and English translations
as a text file
(pdf)available for
download
If only
we'd had something like
that ... an album for
practice, a guide for
professional singers as
well as for opera
enthusiasts. (Franz
Mazura, Patron Bass). $43.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Applause!, Book 2
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
(Impressive Piano Solos for the Budding Virtuoso) Compiled by Lynn Freeman Olson...(+)
(Impressive Piano Solos
for the Budding Virtuoso)
Compiled by Lynn Freeman
Olson. Collection for
solo piano. 79 pages.
Published by Alfred
Publishing.
(3)$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Applaus Applaus! Piano seul Doblinger
Piano - Level 1-2 SKU: DB.01-00382 Buhne frei fur mein erstes Klavierk...(+)
Piano - Level 1-2 SKU:
DB.01-00382 Buhne
frei fur mein erstes
Klavierkonzert (inkl.
CD). Composed by
Michael Publig. Arranged
by Michael Publig.
Keyboard music. Book &
CD. 48 pages pages.
Doblinger Music
Publishers #01-00382.
Published by Doblinger
Music Publishers
(DB.01-00382). ISBN
9790012183617. Die
Sammlung von 28 einfachen
Vortragsstucken, die aus
dem ublichen E- und
U-Musik Schema
herausfallen, ist eine
erste ebenso anregende
wie vergnugliche
Einfuhrung in eine
Musikwelt, die heute
reicher ist als je zuvor.
Um dem Schuler die Angst
vor dem ersten
offentlichen Spiel zu
nehmen, muss es ihm/ihr
vor allem Spass machen.
Diese reich und bunt
illustrierte
Spielsammlung vereint
ausser Bach, Mozart & Co.
auch blues-ige, po-ige &
sonstige Melodien und
Rhythmen. Aus dem
Programm: Prelude
(Eurovisionsmelodie) -
Fur Elise - Der
Vogelfanger - Wiegenlied
- Morgenstimmung - Pause
- Banana Boat Song -
Happy Dino Waltz -
Aladins Wunderkerze - Die
Powermaus im Computerhaus
- Mango Mambo - Bubble
Gum Boogie - Freds
Steinzeit-Polka -
Geisterbahn-Blues -
Zugaben: Der Frechdax -
Radetzky-Marsch etc. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Applaus [Conducteur] Carus Verlag
Audience a cappella, 4-401 Participants SKU: CA.910600 Composed by Manfre...(+)
Audience a cappella,
4-401 Participants
SKU: CA.910600
Composed by Manfred
Langer. Choirs in
Movement. German title:
Applaus Einzelexemplar.
Choirs in movement. Full
score. 4 pages. Duration
2 minutes. Carus Verlag
#CV 09.106/00. Published
by Carus Verlag
(CA.910600). ISBN
9790007231514. Language:
German/English. Two
encore pieces, theater
(speaking roles) for
choir. Conductor and
members of the choirs
move about the stage,
chat with one another,
express their lack of
understanding for
contemporary art, hope to
have a solo, show their
love for one member of
the choir ... Two pieces
which the choir and
public alike will
enjoy. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Little Engine That Could Sing - CD only Heritage Music Press
Grades PreK-2 SKU: LO.MC008CD Composed by Carol Kaplan-Lyss. Milliken Mus...(+)
Grades PreK-2 SKU:
LO.MC008CD Composed
by Carol Kaplan-Lyss.
Milliken Musicals Series.
Educational Musical,
Classroom Music, Movement
and Music.
Performance/accompaniment
CD. Heritage Music Press
#MC008CD. Published by
Heritage Music Press
(LO.MC008CD).
Applause!
Applause! And
wasn’t it easy?
Even teachers with no
formal musical training
will love this simple
musical play. Children
will bring The Little
Engine That Could story
to life through drama,
music, art, language,
math, and gross motor
activities. The
Listening/Accompaniment
CD comes loaded with
songs and music for
classroom use or
performance. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Goldie and the Bears - CD only Heritage Music Press
Grades PreK-2 SKU: LO.MC007CD Composed by Donna Dirksing. Milliken Musica...(+)
Grades PreK-2 SKU:
LO.MC007CD Composed
by Donna Dirksing.
Milliken Musicals Series.
Educational Musical,
Movement and Music.
Performance/accompaniment
CD. Heritage Music Press
#MC007CD. Published by
Heritage Music Press
(LO.MC007CD).
Applause!
Applause! And
wasn’t it easy?
Even teachers with no
formal musical training
will love this simple
musical play. Children
will bring the Three
Bears story to life
through drama, music,
art, language, science,
and gross motor
activities. The
Listening/Accompaniment
CD comes loaded with
songs and music for
classroom use or
performance. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 10 Piano Pieces Op. 58 Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-3201 Composed by Jean Sibelius. This edition: paperback....(+)
Piano SKU:
BR.EB-3201 Composed
by Jean Sibelius. This
edition: paperback. Solo
instruments; Softcover.
Edition Breitkopf. Early
modern; Late-romantic.
Score. 8 pages. Breitkopf
and Haertel #EB 3201.
Published by Breitkopf
and Haertel (BR.EB-3201).
ISBN 9790004161609. 9
x 12 inches. Some
of the Ten Piano Pieces
op. 58 were already
successfully performed
during the composers
lifetime. At a concert in
the Solemnity Hall of
Helsinki University on 10
October 1911, two of the
pieces (Scherzino No. 2,
Serenade No. 9) had to be
repeated because of the
roar of applause.. Both
Sibelius and Mrs. Sigrid
Sundgren-Schneevoigt were
called forth with
storming applause. The
reviews were good,
describing the pieces as
the most ingenious piano
compositions reduced to a
small form, that have
been published in
Finland. $12.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Circus Delight [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-015 Compo...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.GOB-000234-015
Composed by Dagmar
Kildevann. Set (Score &
Parts). 140 pages.
Gobelin Music
Publications #GOB
000234-015. Published by
Gobelin Music
Publications
(BT.GOB-000234-015).
‘Circus
Delight’ is a five-part
suite which is set, how
could it be otherwise, in
a big circus
tent.
The suite
starts with a part called
‘Entrance’. The
orchestra, positioned
above the entrance of the
ring asks for the
attention of the audience
and then the ring
announcer enters. The
show can begin! The
elephants play a central
role in the first act.
These colossal grey
animals are rather slow
and perform their tricks
in a moderate tempo.
(‘Elephant
Blues’) How
different are ‘The
Acrobats’. At high
speed they run, jump and
fly through the ring,
until ....... It gets
very exciting.
Fortunately, all’s well
that ends well and they
take their leave of the
audienceat a trot.
Everyone knows, and yet
it is mostly not spoken
about, that when a clown
has taken off his red
nose and rubbed off his
make-up, his face
off-stage is not always a
happy one. (‘Tears of
the Clown’) The
piece ends on a cheerful
note with ‘The
Parade’, in which all
the artists make their
entrance in the ring once
again to gratefully
acknowledge the
audience’s overwhelming
applause.
‘Circus
Delight’ is een
vijfdelige suite die zich
afspeelt in, hoe kan het
ook anders, een grote
circustent.
De
suite begint met
‘Entrance’. Het
orkest dat boven de
ingang van de piste zit
vraagt de aandacht van
het publieken de
spreekstalmeester komt
binnen. De voorstelling
kan beginnen. De
olifanten staan centraal
in de eerste act. De
grote grijze kolossen
zijn niet de snelste
dieren en vertonen hun
kunsten in een rustig
tempo.
(‘ElephantBlues’)
Bij ‘The Acrobats’ is
dat wel even anders. In
rap tempo hollen,
springen en vliegen ze
door de piste totdat ...
het heel spannend wordt.
Maar het gaat gelukkig
goed en in snel tempo
nemen ze afscheid van het
publiek. Iedereen weet
het en toch, er wordt
meestal niet over
gesproken dat wanneer de
clown na de voorstelling
zijn rode neus en schmink
afdoet, we zien dat het
gezicht van de clown niet
altijd lacht. (‘Tears
of the Clown’) We
sluiten vrolijk af met
‘The Parade’ waarin
alle artiesten nog een
keer in de piste
voorbijkomen, om het
overweldigende applaus
dankbaar in ontvangst te
nemen. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Delight Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000381-130 Composed by Dagmar Kildevann....(+)
Brass Band - Grade 2
SKU:
BT.GOB-000381-130
Composed by Dagmar
Kildevann. Score Only. 12
pages. Gobelin Music
Publications #GOB
000381-130. Published by
Gobelin Music
Publications
(BT.GOB-000381-130).
‘Circus
Delight’ is a five-part
suite which is set, how
could it be otherwise, in
a big circus
tent.
The suite
starts with a part called
‘Entrance’. The
orchestra, positioned
above the entrance of the
ring asks for the
attention of the audience
and then the ring
announcer enters. The
show can begin! The
elephants play a central
role in the first act.
These colossal grey
animals are rather slow
and perform their tricks
in a moderate tempo.
(‘Elephant
Blues’) How
different are ‘The
Acrobats’. At high
speed they run, jump and
fly through the ring,
until ....... It gets
very exciting.
Fortunately, all’s well
that ends well and they
take their leave of the
audienceat a trot.
Everyone knows, and yet
it is mostly not spoken
about, that when a clown
has taken off his red
nose and rubbed off his
make-up, his face
off-stage is not always a
happy one. (‘Tears of
the Clown’) The
piece ends on a cheerful
note with ‘The
Parade’, in which all
the artists make their
entrance in the ring once
again to gratefully
acknowledge the
audience’s overwhelming
applause.
‘Circus
Delight’ is een
vijfdelige suite die zich
afspeelt in, hoe kan het
ook anders, een grote
circustent.
De
suite begint met
‘Entrance’. Het
orkest dat boven de
ingang van de piste zit
vraagt de aandacht van
het publieken de
spreekstalmeester komt
binnen. De voorstelling
kan beginnen. De
olifanten staan centraal
in de eerste act. De
grote grijze kolossen
zijn niet de snelste
dieren en vertonen hun
kunsten in een rustig
tempo.
(‘ElephantBlues’)
Bij ‘The Acrobats’ is
dat wel even anders. In
rap tempo hollen,
springen en vliegen ze
door de piste totdat ...
het heel spannend wordt.
Maar het gaat gelukkig
goed en in snel tempo
nemen ze afscheid van het
publiek. Iedereen weet
het en toch, er wordt
meestal niet over
gesproken dat wanneer de
clown na de voorstelling
zijn rode neus en schmink
afdoet, we zien dat het
gezicht van de clown niet
altijd lacht. (‘Tears
of the Clown’) We
sluiten vrolijk af met
‘The Parade’ waarin
alle artiesten nog een
keer in de piste
voorbijkomen, om het
overweldigende applaus
dankbaar in ontvangst te
nemen. $16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Circus Delight [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.GOB-000234-215 Compo...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2 SKU:
BT.GOB-000234-215
Composed by Dagmar
Kildevann. Score Only. 24
pages. Gobelin Music
Publications #GOB
000234-215. Published by
Gobelin Music
Publications
(BT.GOB-000234-215).
‘Circus
Delight’ is a five-part
suite which is set, how
could it be otherwise, in
a big circus
tent.
The suite
starts with a part called
‘Entrance’. The
orchestra, positioned
above the entrance of the
ring asks for the
attention of the audience
and then the ring
announcer enters. The
show can begin! The
elephants play a central
role in the first act.
These colossal grey
animals are rather slow
and perform their tricks
in a moderate tempo.
(‘Elephant
Blues’) How
different are ‘The
Acrobats’. At high
speed they run, jump and
fly through the ring,
until ....... It gets
very exciting.
Fortunately, all’s well
that ends well and they
take their leave of the
audienceat a trot.
Everyone knows, and yet
it is mostly not spoken
about, that when a clown
has taken off his red
nose and rubbed off his
make-up, his face
off-stage is not always a
happy one. (‘Tears of
the Clown’) The
piece ends on a cheerful
note with ‘The
Parade’, in which all
the artists make their
entrance in the ring once
again to gratefully
acknowledge the
audience’s overwhelming
applause.
‘Circus
Delight’ is een
vijfdelige suite die zich
afspeelt in, hoe kan het
ook anders, een grote
circustent.
De
suite begint met
‘Entrance’. Het
orkest dat boven de
ingang van de piste zit
vraagt de aandacht van
het publieken de
spreekstalmeester komt
binnen. De voorstelling
kan beginnen. De
olifanten staan centraal
in de eerste act. De
grote grijze kolossen
zijn niet de snelste
dieren en vertonen hun
kunsten in een rustig
tempo.
(‘ElephantBlues’)
Bij ‘The Acrobats’ is
dat wel even anders. In
rap tempo hollen,
springen en vliegen ze
door de piste totdat ...
het heel spannend wordt.
Maar het gaat gelukkig
goed en in snel tempo
nemen ze afscheid van het
publiek. Iedereen weet
het en toch, er wordt
meestal niet over
gesproken dat wanneer de
clown na de voorstelling
zijn rode neus en schmink
afdoet, we zien dat het
gezicht van de clown niet
altijd lacht. (‘Tears
of the Clown’) We
sluiten vrolijk af met
‘The Parade’ waarin
alle artiesten nog een
keer in de piste
voorbijkomen, om het
overweldigende applaus
dankbaar in ontvangst te
nemen. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Delight Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 2 SKU: BT.GOB-000381-030 Composed by Dagmar Kildevann....(+)
Brass Band - Grade 2
SKU:
BT.GOB-000381-030
Composed by Dagmar
Kildevann. Set (Score &
Parts). 54 pages. Gobelin
Music Publications #GOB
000381-030. Published by
Gobelin Music
Publications
(BT.GOB-000381-030).
‘Circus
Delight’ is a five-part
suite which is set, how
could it be otherwise, in
a big circus
tent.
The suite
starts with a part called
‘Entrance’. The
orchestra, positioned
above the entrance of the
ring asks for the
attention of the audience
and then the ring
announcer enters. The
show can begin! The
elephants play a central
role in the first act.
These colossal grey
animals are rather slow
and perform their tricks
in a moderate tempo.
(‘Elephant
Blues’) How
different are ‘The
Acrobats’. At high
speed they run, jump and
fly through the ring,
until ....... It gets
very exciting.
Fortunately, all’s well
that ends well and they
take their leave of the
audienceat a trot.
Everyone knows, and yet
it is mostly not spoken
about, that when a clown
has taken off his red
nose and rubbed off his
make-up, his face
off-stage is not always a
happy one. (‘Tears of
the Clown’) The
piece ends on a cheerful
note with ‘The
Parade’, in which all
the artists make their
entrance in the ring once
again to gratefully
acknowledge the
audience’s overwhelming
applause.
‘Circus
Delight’ is een
vijfdelige suite die zich
afspeelt in, hoe kan het
ook anders, een grote
circustent.
De
suite begint met
‘Entrance’. Het
orkest dat boven de
ingang van de piste zit
vraagt de aandacht van
het publieken de
spreekstalmeester komt
binnen. De voorstelling
kan beginnen. De
olifanten staan centraal
in de eerste act. De
grote grijze kolossen
zijn niet de snelste
dieren en vertonen hun
kunsten in een rustig
tempo.
(‘ElephantBlues’)
Bij ‘The Acrobats’ is
dat wel even anders. In
rap tempo hollen,
springen en vliegen ze
door de piste totdat ...
het heel spannend wordt.
Maar het gaat gelukkig
goed en in snel tempo
nemen ze afscheid van het
publiek. Iedereen weet
het en toch, er wordt
meestal niet over
gesproken dat wanneer de
clown na de voorstelling
zijn rode neus en schmink
afdoet, we zien dat het
gezicht van de clown niet
altijd lacht. (‘Tears
of the Clown’) We
sluiten vrolijk af met
‘The Parade’ waarin
alle artiesten nog een
keer in de piste
voorbijkomen, om het
overweldigende applaus
dankbaar in ontvangst te
nemen. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tannhauser WWV 70 Breitkopf & Härtel
Woodwinds (3(picc).2.2.2. - 4.3.3.1. - timp.perc - str) SKU: BR.OB-4497-30(+)
Woodwinds (3(picc).2.2.2.
- 4.3.3.1. - timp.perc -
str) SKU:
BR.OB-4497-30
Overture to the Opera
- Dresden Version.
Composed by Richard
Wagner. Folder.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Set
of parts. 76 pages.
Duration 15'. Breitkopf
and Haertel #OB 4497-30.
Published by Breitkopf
and Haertel
(BR.OB-4497-30). ISBN
9790004312247. 10 x 12.5
inches. Now they
began to play. To my
greatest surprise, it was
a strong, full orchestra,
outstandingly rehearsed,
the tempi nearly all
perfect, everything neat
and well executed. My
God, how I was moved to
hear basically for the
first time something of
mine being played without
me, and without anyone
really paying much
attention to me. And now
this very piece, the
Tannhauser Overture! I
sat there plagued by an
indescribable inner
agitation - :
unfortunately, I was
being sharply observed by
the public, which had
taken note of this; yet I
noticed nothing of all
this, and burst into a
river of beneficial
tears. (...) At the
close, the wild applause
of the public that had no
idea about what they had
just witnessed The
conductor and the entire
orchestra turned towards
me and cheered and
applauded so much that I
had to stand and thank
them...(Richard Wagner
from Strasbourg to his
wife Minna on 15 January
1858). $101.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Tannhauser WWV 70 Breitkopf & Härtel
Double bass (3(picc).2.2.2. - 4.3.3.1. - timp.perc - str) SKU: BR.OB-4497-27<...(+)
Double bass
(3(picc).2.2.2. -
4.3.3.1. - timp.perc -
str) SKU:
BR.OB-4497-27
Overture to the Opera
- Dresden Version.
Composed by Richard
Wagner. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Overture; Romantic. Part.
4 pages. Duration 15'.
Breitkopf and Haertel #OB
4497-27. Published by
Breitkopf and Haertel
(BR.OB-4497-27). ISBN
9790004312230. 10 x 12.5
inches. Now they
began to play. To my
greatest surprise, it was
a strong, full orchestra,
outstandingly rehearsed,
the tempi nearly all
perfect, everything neat
and well executed. My
God, how I was moved to
hear basically for the
first time something of
mine being played without
me, and without anyone
really paying much
attention to me. And now
this very piece, the
Tannhauser Overture! I
sat there plagued by an
indescribable inner
agitation - :
unfortunately, I was
being sharply observed by
the public, which had
taken note of this; yet I
noticed nothing of all
this, and burst into a
river of beneficial
tears. (...) At the
close, the wild applause
of the public that had no
idea about what they had
just witnessed The
conductor and the entire
orchestra turned towards
me and cheered and
applauded so much that I
had to stand and thank
them...(Richard Wagner
from Strasbourg to his
wife Minna on 15 January
1858). $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ode on St. Cecilia's Day 1692 Z 328 Breitkopf & Härtel
Basso (cello/double bass) (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0....(+)
Basso (cello/double bass)
(solos: SAATBB - choir:
SSAATB - 2rec.B-fl.2.0.0.
- 0.2.0.0. - timp - str -
bc) SKU:
BR.EOS-8063-26
Hail! Bright
Cecilia. Composed by
Henry Purcell. Stapled.
Eulenburg Orchestral
Series. Renaissance/early
Baroque; Baroque. Part.
20 pages. Duration 60'.
Breitkopf and Haertel
#EOS 8063-26. Published
by Breitkopf and Haertel
(BR.EOS-8063-26). ISBN
9790004789810. 8.5 x 11.5
inches. The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka). $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ode on St. Cecilia's Day 1692 Z 328 Breitkopf & Härtel
Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0....(+)
Chorus (with soloists)
and piano (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc) SKU:
BR.ED-10296 Hail!
Bright Cecilia.
Composed by Henry
Purcell. Edited by
Christopher Hogwood.
Choir; stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 80
pages. Duration 60'.
Breitkopf and Haertel #ED
10296. Published by
Breitkopf and Haertel
(BR.ED-10296). ISBN
9790220101977. 7.5 x 11
inches. The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka). $22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Ode on St. Cecilia's Day 1692 Eulenburg
Score (Soli: SAATBB - Chor: SSAATB - 2Blfl.B-Fl.2.0.0. - 0.2.0.0. - Pk - Str - B...(+)
Score (Soli: SAATBB -
Chor: SSAATB -
2Blfl.B-Fl.2.0.0. -
0.2.0.0. - Pk - Str - Bc)
SKU: HL.49017724
Study Score.
Composed by Henry
Purcell. Edited by
Christopher Hogwood. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. 140 pages.
Duration 60'. Eulenburg
Edition #ETP8063.
Published by Eulenburg
Edition (HL.49017724).
ISBN 9783795771775.
UPC: 841886013797.
7.5x10.75x0.332
inches. An annual
London celebration of the
patron saint of music, in
the form of a banquet
plus the performance of
an ode, was instituted on
St. Cecilia's Day, 22
November 1683. The
occasion proved so
popular that it continued
for some 30 years after.
A newspaper account of
the first performance of
the 1692 Ode informs us
that 'the Ode was
admirably set to music by
Mr. Henry Purcell, and
perform'd twice with
universal applause'. The
popularity of Purcell's
setting is apparent from
the many sources that
survived from the period
and from printed extracts
which appeared almost
immediately after its
first performance. The
editor, Christopher
Hogwood, is the
founder-director of the
Academy of Ancient Music
with whom he has made
over 200 recordings. He
is Honorary Professor of
Music at the University
of Cambridge and Visiting
Professor at the Royal
Academy of Music,
London. $69.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ode on St. Cecilia's Day 1692 Z 328 Breitkopf & Härtel
Woodwinds (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - ...(+)
Woodwinds (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc) SKU:
BR.EOS-8063-30
Hail! Bright
Cecilia. Composed by
Henry Purcell. Stapled.
Eulenburg Orchestral
Series. Renaissance/early
Baroque; Baroque. Set of
parts. 40 pages. Duration
60'. Breitkopf and
Haertel #EOS 8063-30.
Published by Breitkopf
and Haertel
(BR.EOS-8063-30). ISBN
9790004789827. 8.5 x 11.5
inches. The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka). $57.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Missa in C minor K. 427 "Great Mass in C minor" [Conducteur] Barenreiter
Solo voices, SATB chorus, orchestra (Soprano solo (2), Tenor solo, Bass solo, Mi...(+)
Solo voices, SATB chorus,
orchestra (Soprano solo
(2), Tenor solo, Bass
solo, Mixed choirs (SATB)
(2), Orchestra) SKU:
BA.BA09188 Composed
by Wolfgang Amadeus
Mozart. Edited by Ulrich
Leisinger. Arranged by
Ulrich Leisinger. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Classical. Score.
KV 427. Baerenreiter
Verlag #BA09188_00.
Published by Baerenreiter
Verlag (BA.BA09188).
ISBN 9790006565092. 31
x 24.3 cm inches. Key: C
minor. Text Language:
Latin. Preface: Ulrich
Leisinger. Mozartâ
€™s magnificent
unfinished “Great
Mass in C minor K.
427†is impressive
not only for its
monumentality and musical
beauty but for its
fragmentary state which
has fascinated scholars
and performers for
decades.
Working
together with the
International Mozarteum
Foundation in Salzburg,
Barenreiter now presents
a new edition of this
work, reflecting the
cutting edge of
scholarship while doing
justice to the needs of
performers.
High
scholarly standards, the
completion and
reconstruction of
movements: this
pioneering publication
incorporates all this in
order to come as close as
possible to the work
itself: - The
“Kyrie†and
“Gloriaâ€,
both of which survive
complete in
Mozart’s hand, are
edited in accordance with
scholarly standards. -
The first two sections of
the “Credoâ€
have been meticulously
completed by the editor
Ulrich Leisinger, drawing
on original Mozart
compositions e.g. the
aria “Deh vieni non
tardar†from
“The Marriage of
Figaro†and paying
attention to a
stylistically appropriate
and transparent
sound. - The
“Sanctus†and
“Benedictusâ€
(with the
“Hosannaâ€),
which are either
incomplete or survive
only in secondary
sources, have been
reconstructed by the
editor.
Sections
without any known sources
are left out in this
edition. Rounding off the
publication is an
extensive Foreword
(Ger/Eng).
The
first performance of
Ulrich Leisinger’s
new edition was given in
April 2019 in the
Elbphilharmonie Hamburg
by the Hamburg State
Philharmonic Orchestra
and the ChorWerk Ruhr
under the baton of Kent
Nagano. The first
Austrian premiere took
place in Salzburg on
August 2019 in the Great
Hall of the Mozarteum,
with Andrew Manze
conducting the Salzburg
Camerata to rousing
applause from audience
and critics
alike.
The C-minor
Mass reconstruction by
Helmut Eder on the basis
of the New Mozart Edition
(BA 4846) is still
available: the score and
performance material are
on hire, the vocal score
is on sale.
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
$123.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rumba Niña Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 2 SKU: BT.DHP-0900180-020 Composed by John Nimbly. A...(+)
Fanfare Band - Grade 2
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Composed by John Nimbly.
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| Excelsior Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 2 SKU: CL.012-4998-01 Galop. Composed by King. Arranged by J...(+)
Grade 2 SKU:
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Galop. Composed by
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Raise your
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| A Song for You [Conducteur] - Facile De Haske Publications
Brass Band and Recorder Solo - Grade 2 SKU: BT.DHP-0960699-130 Composed b...(+)
Brass Band and Recorder
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BT.DHP-0960699-130
Composed by Otto M.
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In A Song
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kip) en The Black
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Eine
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österreichische
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mit A Song for
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