| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Classic Piano Course, Book 1: Starting to Play Piano seul [Partition] - Débutant Music Sales
By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Musi...(+)
By Carol Barratt. For
Piano. Folk, Blues,
Classical. 64 pages.
Published by Music Sales
$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Classical Era - Easy to Intermediate Piano Solo Piano seul - Intermédiaire Hal Leonard
Easy to Int. Solos 65 Works from Symphonies, Operas, Concertos, Piano Literature...(+)
Easy to Int. Solos 65
Works from Symphonies,
Operas, Concertos, Piano
Literature and Chamber
Music. World's Greatest
Classical Music. Size
9x12 inches. Published by
Hal Leonard.
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Otona Piano in Classical Music Piano seul Yamaha
Piano - Easy-Intermediate SKU: YM.GTP01098166 Keyboard. Arranged Classic....(+)
Piano - Easy-Intermediate
SKU:
YM.GTP01098166
Keyboard. Arranged
Classic. Score. Yamaha
Music Media #GTP01098166.
Published by Yamaha Music
Media (YM.GTP01098166).
ISBN
9784636981667. Ther
e are many music sheet
books available for
children, but not many
for adults who have just
started playing the
piano. The Otona Piano
series is designed for
those adults who are
beginner piano players.
Here is a great
piano collection for
those who want to take
their piano playing to
the next level! It is
also a great selection
for live
performances! $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| E-Z Play Today #275 - Classical Hits - Bach, Beethoven and Brahms Piano Facile [Partition] - Facile Hal Leonard
For keyboard. Format: easy piano solo songbook. With big note notation, chord na...(+)
For keyboard. Format:
easy piano solo songbook.
With big note notation,
chord names and .
Baroque, classical period
and romantic period.
Series: Hal Leonard E-Z
Play Today. 72 pages.
9x12 inches.
(2)$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fake Book Of The World's Favorite Songs - C Instruments - 4th Edition
Instruments en Do [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Traditional pop
and vocal standards.
Series: Hal Leonard Fake
Books. 424 pages. 9x12
inches. Published by Hal
Leonard.
(14)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classical - Super Easy Songbook Piano Facile - Facile Hal Leonard
Composed by Various. Super Easy Songbook. Classical. Softcover. 120 pages. Publi...(+)
Composed by Various.
Super Easy Songbook.
Classical. Softcover. 120
pages. Published by Hal
Leonard (HL.194693).
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Symphony No. 1 Orchestre à Cordes [Conducteur et Parties séparées] - Facile Highland/Etling
(Movement I). Composed by Ludwig van Beethoven (1770-1827). Arranged by Christin...(+)
(Movement I). Composed by
Ludwig van Beethoven
(1770-1827). Arranged by
Christina Hans.
Orchestra. Masterworks;
Part(s); Score; String
Orchestra. Highland
String Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Grade 2. 124
pages. Published by
Highland/Etling
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beethoven for Guitar Guitare Guitare classique - Intermédiaire Edward B. Marks Music Company
Composed by Ludwig van Beethoven (1770-1827), arranged by Leon Block. Guitar sol...(+)
Composed by Ludwig van
Beethoven (1770-1827),
arranged by Leon Block.
Guitar solo book (no
tablature) for guitar.
With standard guitar
notation. 16 pages.
Published by Marks.
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Easy Classical Fake Book Fake Book [Fake Book] Hal Leonard
Melody, Lyrics & Simplified Chords in the Key of C. By Various. Fake Book (Inclu...(+)
Melody, Lyrics &
Simplified Chords in the
Key of C. By Various.
Fake Book (Includes
melody line and chords).
Softcover. Size 9x12
inches. 200 pages.
Published by Hal Leonard.
(1)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| CLASSIC IN DUO 1 Piano, 4 mains - Intermédiaire/avancé Yamaha
10 Classical Music Arrangements for 2 Advanced Pianists. Composed by Various. ...(+)
10 Classical Music
Arrangements for 2
Advanced
Pianists. Composed by
Various.
Arranged by Various. IN
DUO.
Arranged Classical Music.
Book. Yamaha Music Media
#GTP01100824. Published
by
Yamaha Music Media
$17.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Sonatina Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F). ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major. IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sound Matters Schott
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE M...(+)
(Score) SKU:
HL.49003135 An
Anthology of Listening
Material for GCSE
Music. Composed by
Bruce Cole and David
Bowman. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical,
Collection. Score. 200
pages. Schott Music
#ED12351. Published by
Schott Music
(HL.49003135). ISBN
9780946535132. UPC:
884088991623.
8.25x11.75x0.436 inches.
English. This
anthology of 72 music
examples, consisting of
the Teacher's Manual,
Pupil's Questions, Music
Book and two recordings
on CD or cassettes, is
intended to provide
comprehensive resource
materials for the
listening component of
the GCSE music
syllabuses. The extracts
have been selected
especially to illustrate
the periods, styles and
rudiments of music
encompassed within the
syllabuses, and the four
components of the
publication produced to
ensure maximum assistance
to the teacher in the
classroom. Selected
contents: MUSIC IN THE
LATE RENAISSANCE O quam
gloriosum est regnum * T.
Morley: MUSIC IN THE
BAROQUE ERA: H. Purcell:
Hark, each tree (from Ode
for St Cecilia's Day) *
A. Vivaldi: Second
Allegro (from Op. 3 No.
11) * G.F. Handel: Lascia
ch'io * J.S. Bach:
Erschienen ist der
herrliche Tag (BWV 629) *
F. Couperin: Le
Petit-Rein MUSIC IN THE
ROMANTIC PERIOD: F.
Schubert: Am Meer (from
Schwanengesang) * H.
Berlioz: Un Bal (from
Symphonie fantastique) *
F. Chopin: Mazurka (Op. 7
No. 5) * R. Schumann:
Fantasiestuck (Op. 73 No.
1) * R. Wagner: Prelude
(to Tristan and Isolde) *
R. Strauss: Epilog (from
Till Eulenspiegels
lustige Streiche) * MUSIC
IN THE TWENTIETH CENTURY:
B. Bartok: Third movement
(from Sonata for two
Pianos and Percussion) *
K. Stockhausen: Zyklus *
C. Berberian: Stripsody *
JAZZ AND POP: F. Molton:
Peace in the Valley * Bix
Beiderbecke and his Gang:
Jazz Me Blues * The
Platters: Only You * E.
Fitzgerald: Mack the
Knife * S. Getz and A.
Gilberto: The Girl From
Ipanema and more. $20.95 - Voir plus => Acheter | | |
| Symphony No. 1 Orchestre - Facile Highland/Etling
Orchestra - Grade 2 SKU: AP.41270S Movement I. Composed by Ludwig ...(+)
Orchestra - Grade 2
SKU: AP.41270S
Movement I.
Composed by Ludwig van
Beethoven. Arranged by
Christina Hans. MakeMusic
Cloud; Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Score. 12
pages. Highland/Etling
#00-41270S. Published by
Highland/Etling
(AP.41270S). UPC:
038081480909.
English. Add the
thrill and energy of
Beethoven to your next
concert without having to
shift! This simplified
setting offers many
learning opportunities,
including dynamics, bow
style, dotted notes,
accents, and sixteenth
notes. This is a great
concert or contest
selection that packs a
powerful ending for your
audience. This title is
available in MakeMusic
Cloud. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| French Piano Music: The Ultimate Collection, Part 1 Piano seul [CD Sheet Music] CD Sheet Music
SKU: SU.00220525 Keyboard, Piano/Harpsichord. CD (PDF Scores). CD Sheet M...(+)
SKU: SU.00220525
Keyboard,
Piano/Harpsichord. CD
(PDF Scores). CD Sheet
Music #00220525.
Published by CD Sheet
Music (SU.00220525).
This CD Sheet
Musicâ?¢ collection
brings together over 140
works for solo piano,
piano duo, and piano
four-hands by both
familiar and lesser-known
French composers active
in the 19th and early
20th centuries. Works
include: Alkan
(Saltarelle, Symphony,
from 12 Ã?tudes;
Concerto, from 12
Ã?tudes, Le Festin
d'Ã?sope, Theme and
Variations); Bizet
(Variations Chromatiques
de Concert, Jeux
d'Enfants Parts 1and2);
Chabrier (Pièces
Pittoresques, Bourrée
Fantasque, 3 Valses
Romantique);
Chaminade (Air de
Ballet, Scarf Dance,
Scène de Ballet);
D'Indy (Poème de
Montagne, Sonata in E);
Dukas (Variations,
Interlude et Finale,sur
un thème de Rameau)
Franck (Danse Lente,
Prélude, Aria et
Final, Short Pieces
(originally for
Harmonium), Variations
Symphoniques); Ibert
(Histoires I-X, Matin sur
l'Eau); Koechlin
(Paysages et Marines
I-XII); Massenet (10
Pièces de Genres,
Toccata); Milhaud
(Saudades Dos Brasil);
Poulenc (3 Movements
Perpétuels, Cinque
Impromptus); Ravel
(Gaspard de la Nuit,
Miroirs, Ma Mère l'Oye
(arr for solo piano),
Sonatine, Le Tombeau de
Couperin, Valses nobles
et sentimentals);
Roussel (Des Heures
Passant..., Rustiques,
Sonatine);
Saint-Saëns (Danse
Macabre, Romance without
Words, 3 Mazurkas,
Ã?tudes Books IandII,
Variations sur un
Thème de Beethoven);
Satie (3
Gymnopédies, 3
Gnossiennes, Embryons
Desséchés,
Descriptions
Automatiques, Embroyons
Desséchés, Sports
et Divertissements,
Morceaux en forme de
Poire); Schmitt
(Musiques Intimes, Books
IandII); Vierne
(Suite Bourguignonne),
and more Also includes
composer biographies and
relevant articles from
the 1911 edition of
Groveâ??s Dictionary of
Music and Musicians 2300
pages Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 8 F Major Op. 93 Orchestre [Conducteur d'étude / Miniature] G. Henle
Orchestra (Study Score) SKU: HL.51489818 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489818
Orchestra Study
Score. Composed by
Ludwig van Beethoven.
Edited by Ernst
Herttrich. Henle Study
Scores. Classical.
Softcover. 86 pages. G.
Henle #HN9818. Published
by G. Henle
(HL.51489818). UPC:
840126932744.
6.75x9.5x0.25
inches. Sandwiched
between the popular
Symphonies Nos. 7 and 9,
the relatively short
Eighth Symphony finds
itself in a difficult
position even now. Right
after the premiere in
February 1814, one critic
opined that it had made
“no splash.â€
At first glance it makes
recourse to already
outmoded forms and
genres, even reviving a
minuet for the third
movement (in lieu of a
slow movement) after an
Allegretto scherzoso. But
Beethoven engages
intensively with music
history, breaking apart
traditional procedures
and patterns and finding
new, surprising solutions
that make his Eighth a
milestone in symphonic
history. Based on the
musical text of the
Beethoven Complete
Edition and furnished
with a new preface, this
recently prepared edition
reflects the latest in
Beethoven scholarship.
Now,in this study
edition, it is available
to everyone at a
reasonable price and in a
handy format.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$13.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Symphony No. 2 in D major Op. 36 Orchestre Breitkopf & Härtel
Orchestra (2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-5342-07 Urtext(+)
Orchestra (2.2.2.2 -
2.2.0.0 - timp - str)
SKU: BR.PB-5342-07
Urtext. Composed
by Ludwig van Beethoven.
Edited by Clive Brown.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library). Words
are not enough to praise
this exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses i.
Symphony; Classical.
Study Score. 88 pages.
Duration 35'. Breitkopf
and Haertel #PB 5342-07.
Published by Breitkopf
and Haertel
(BR.PB-5342-07). ISBN
9790004210970. 6.5 x 9
inches. For the
present Urtext edition of
Beethoven's Symphony No.
2, the editor also
consulted certain sources
and authentic new
variants for the first
time; among them are the
nonet arrangement made by
Beethoven's pupil
Ferdinand Ries in 1807,
thus with authentic
variants. Thanks to his
vast knowledge, the
editor has uncovered a
number of errors and
contradictions in the
sources. The basic
differences with respect
to other editions chiefly
concern the articulation
and dynamics in movements
1, 2 and 4. They can
easily be found in the
Critical Commentary of
the conducting
score.
Words are
not enough to praise this
exemplary edition,
resulting from many years
of systematic editorial
work on the sources.
Breitkopf's
source-critical,
practice-oriented edition
by Clive Brown and Peter
Hauschild will provide
valuable new impulses in
the interpretation of
Beethoven's music. (Kurt
Masur, 2006). $20.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Symphony No. 9 in D Minor, Op. 125 Orchestre [Conducteur d'étude / Miniature] G. Henle
Orchestra (Study Score) SKU: HL.51489819 Study Score. Composed by ...(+)
Orchestra (Study Score)
SKU: HL.51489819
Study Score.
Composed by Ludwig van
Beethoven. Edited by
Beate Angelika Kraus.
Henle Study Scores.
Classical. Softcover. 266
pages. G. Henle #HN9819.
Published by G. Henle
(HL.51489819). UPC:
840126932737.
6.75x9.5x0.712
inches. After the
first sketches had been
put to paper in 1815,
Beethoven only finally
put the finishing touches
to his last completed
symphony in 1824. With
its extended finale in
which soloists and choir
perform, building the
bridge to the symphonic
cantata with their
invocation of fraternity,
it marks a caesura in the
history of the symphony
that echoed long into the
nineteenth century. The
main theme of the ode
“To Joy†by
Friedrich Schiller, set
to music in the final
movement, has become one
of the most popular
melodies in all of
classical music and today
serves as the official
anthem of Europe. Based
on the musical text of
the Beethoven Complete
Edition and furnished
with a new preface, this
recently prepared edition
reflects the latest in
Beethoven scholarship.
Now,in this study
edition, it is available
to everyone at a
reasonable price and in a
handy format.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139S Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S). UPC:
680160682119. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139L Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L). UPC:
680160682126. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 7 a Major Op. 92 Orchestre [Conducteur d'étude / Miniature] G. Henle
Orchestra (Study Score) SKU: HL.51489817 Orchestra Study Score. Co...(+)
Orchestra (Study Score)
SKU: HL.51489817
Orchestra Study
Score. Composed by
Ludwig van Beethoven.
Edited by Ernst
Herttrich. Henle Study
Scores. Classical.
Softcover. 120 pages. G.
Henle #HN9817. Published
by G. Henle
(HL.51489817). UPC:
840126932782.
6.75x9.5x0.341
inches. The
premiere of this work in
December 1813 ranks among
the greatest successes
Beethoven ever celebrated
in public as a composer.
One reviewer wrote at the
time that in its themes
the new symphony was
“so favourable and
easily comprehensible
that every music lover
falls for the powerful
allure of its
beauty.†The
incisiveness of the
themes is fundamentally
related to the basic
ostinato rhythms, which
help shape each
movementÂ’s
distinctive character.
Richard Wagner even
called the composition,
with its ecstatic finale,
an “apotheosis of
the dance.†Based
on the musical text of
the Beethoven Complete
Edition and furnished
with a new preface, this
recently prepared edition
reflects the latest in
Beethoven scholarship.
Now, in this study
edition, it is available
to everyone at a
reasonable price and in a
handy format.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$14.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Royal Coronation Dances Orchestre d'harmonie - Intermédiaire Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| “American Suite”, in A Major, Op. 98 Flûte traversière et Piano Carl Fischer
Chamber Music flute, piano SKU: CF.WF232 Composed by Antonin Dvorak. Edit...(+)
Chamber Music flute,
piano SKU:
CF.WF232 Composed by
Antonin Dvorak. Edited by
Robert Stallman. Arranged
by Robert Stallman. Set
of Score and Parts. With
Standard notation. 28+16
pages. Carl Fischer Music
#WF232. Published by Carl
Fischer Music (CF.WF232).
ISBN 9781491153772.
UPC:
680160911271. Known
internationally for
superior flute editions,
Robert Stallman continues
his considerable
expansion of the flute
repertoire with
re-creations, or
“new†works
for flute by Bach,
Mozart, Schubert,
Beethoven, Chopin,
Dvořák, and other
great composers.Conceived
originally as a work for
solo piano, this
arrangement of
Dvořák’s
Suite in A Major for
flute and piano is based
on both the piano and
orchestra versions. It is
one in a series of
Stallman’s
“new†works
for flute. Dvořák
composed the Suite in A
Major in 1894, inspired
by his happy and fruitful
stay in the “New
World†—a
period that produced some
of his greatest works,
full of thematic
freshness, raw energy and
folk influences, both
American and Old World
Czech. The “New
World†Symphony,
Cello Concerto,
“Americanâ€
Quartet, String Quintet
in E≤ Major, the
Violin Sonatina and this
A Major Suite are all cut
from the same musical
cloth—textured
with his personal
impressions of the Wild
West’s fascinating
Indian and Afro-American
music, its God-fearing
and friendly people, its
vast open spaces and its
awe-inspiring natural
beauty. PrefaceConceiv
ed originally as a work
for solo piano, the Suite
in A Major was composed
by Dvořák in 1894,
during his famous
two-year visit to the
United States. He wrote
the work in a mere ten
days, and a year later
made a full orchestration
of it. The Suite was
first performed in this
second version in 1910 in
Prague at the Rudolfinum.
Dvořák, who died
in 1904, never had a
chance to hear a
performance of this
stirring orchestral
realization.The Suite was
inspired by the
composer’s happy
and fruitful stay in the
“New Worldâ€,
especially by his
unforgettable summers
spent in the quiet
Czech-American village of
Spillville, Iowa—a
period that produced some
of his greatest works,
full of thematic
freshness, raw energy and
folk influences, both
American and Old World
Czech. The “New
World†Symphony,
Cello Concerto,
“Americanâ€
Quartet, String Quintet
in Eb Major, the Violin
Sonatina and this A Major
Suite are all cut from
the same musical
cloth—textured
with his personal
impressions of the Wild
West’s fascinating
Indian and Afro-American
music, its God-fearing
and friendly people, its
vast open spaces and its
awe-inspiring natural
beauty.Several of the
Suite’s affecting
melodies find echoes in
these other, better known
compositions of this
American period. Wistful
themes abound in all five
movements, reflecting
Dvořák’s
transformative American
experience as it found
resonance in his own
emotions. Contrasting
with deeply felt,
contemplative passages
are
Dvořák’s
joyous and tempestuous
expressions, which open
the second, third and
final movements.This
arrangement for flute and
piano is based on both
the piano and orchestra
versions. It is one in a
series of my
“new†works
for flute by some of our
greatest composers and I
am delighted to add it to
the collection. I predict
that the A Major Suite
will become a popular
addition to our Romantic
recital repertoire, much
like the Dvořák
Sonatina.—Robert
StallmanMarblehead,
Mass.June 1, 2018. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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