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| Concerto - Piano And Orchestra - Solo Part
Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| NUN
Breitkopf & Härtel
(solos: fl,tbne - TTTTBBBB - 3(3picc).4.3.0.dble bsn. - 4.3.0.2. - timp.perc(3) ...(+)
(solos: fl,tbne -
TTTTBBBB -
3(3picc).4.3.0.dble bsn.
- 4.3.0.2. - timp.perc(3)
- hp.e-guit - str:
16.8.8.8.8.) SKU:
BR.PB-5420 Composed
by Helmut Lachenmann.
Softbound.
Partitur-Bibliothek
(Score Library). Music
post-1945; New music
(post-2000). Study Score.
Composed 1997-1999/2003.
Duration 38'. Breitkopf
and Haertel #PB 5420.
Published by Breitkopf
and Haertel (BR.PB-5420).
ISBN 9790004211830. 9
x 12
inches. Vielleicht
so etwas wie ein
,,Parergon zu meiner
Madchen-Oper Zwei
Klangquellen - unter
ambivalenten Aspekten
zugleich homogen und
heterogen, nicht so ohne
weiteres zusammenpassend:
- Posaune und
Flote/Bassflote - (mit
Resonanzen aus zwei
Konzertflugeln), 8
Mannerstimmen - alle
erzeugen Tone, und Luft,
Zweiklange, Vibrationen,
Schwebungen, Rattern,
Konsonanzen. Und rattern
und sprechen - und
japsen, Orchester mit 4
Oboen, 3 Floten, 3
Klarinetten, zwei
Kontrafagotten
(unterbeschaftigt), 4
Horner, drei Trompeten,
keinen Posaunen, 2 Tuben,
die in der Tiefe rappeln,
zwei Klavieren,
Gitarre-Harfe, Streicher
(,,Perforateure), 3
Schlagzeuger, rappeln
(Fellwirbel), - und
schwingen China-Becken
durch die Luft, dampfen
aus und vorzeitig ab
(,,japsen) und: halten
aus. Musik zum Aushalten,
ist nicht zum Aushalten.
Ein Orchester mit vielen
Unisono-Quellen Es ist
immer wieder auf andere
Weise - jedes Mal das
gleiche: Musik, nicht als
Text, nicht als
diskursiver Verlauf, gar
als klingendes Drama, -
eher eine Art kunstliches
und als Produkt einer
komplexen Spekulation
zugleich transzendentes
Natur-Schauspiel, als
,,reine Prasenz - (Das
sind allerdings
Wort-Hulsen, die schlecht
an das erinnern, was sie
nicht mehr zu nennen, zu
fassen wagen bzw.
imstande sind. Begriffe,
die es abzurufen und
zugleich im Blick auf die
Sache selbst
auszustreichen gilt.):
Sie zu beschworen, ohne
dabei in schlecht
besinnliche ,,meditative
Idyllen, bzw. idyllische
Standards zu verfallen,
gehort zu meinen
zentralen Utopien - Ihre
Wunschbarkeit/Stringenz/e
xistentielle
Notwendigkeit, ,,Wahrheit
ist hienieden nicht zu
trennen von ihrer
Unmoglichkeit, wegen der
Standardisiertheit aller
Mittel, auf der ihre
Verwirklichung, ihre
Anpeilung, ihre
Ins-Werk-Setzung
verwiesen ist. Aber:
alles soll/wird in dieser
wie auch immer
vermittelten Prasenz
beruhrt, erlost, befreit
sein. Kann man
Erfahrungen, deren
Unmoglichkeit, deren
Verschuttetheit man sich
bewusst macht, vermitteln
durch den Kampf gegen
diese Unmoglichkeiten,
Verschuttetheiten (=
Unfreiheiten)??? Wer bin
ich? Was ist das: das
ich, das solche Suche,
solches Abenteuer,
solchen Kampf gegen die
Materie auf sich nimmt??
Das ,,Ich ist kein Ding,
sondern ein Ort (Kitaro
Nishida - aber ich bin
kein Buddhist, und auch
kein Zen-Monch, sondern
ein Anfanger in allem,
auch im Komponieren des
jeweilig konzipierten
Stucks.) Das Wasser
wascht das Wasser nicht -
das Feuer verbrennt das
Feuer nicht - der Schmerz
selbst tut nicht weh. Der
Genuss geniesst nicht.
Das Horen hort nicht, das
Leben lebt nicht - und so
lebt es. Das Ich ist
nicht das ich. Musik ist
nicht Musik, ist
Nicht-Musik: die einzige
Musik, die den Namen in
seiner emphatischen
Bedeutung verdient. Musik
sei Nicht Musik??
Sondern?? Ja - sondern.
Komponieren heisst:
sondern. Utopien
kompositorisch zu
beschworen, bedeutete fur
meinen Mechanismus stets:
ihre Verschuttetheit. Und
das was - nicht zufallig
- sie verschuttet hat.
Oder zu verschutten
droht, in den Griff zu
nehmen.Helmut Lachenmann
(Skizze)Mitten in meiner
Oper Das Madchen mit den
Schwefelholzern - nach
Hans Christian Andersen
-, die im winterlichen
eiskalten Kopenhagen
spielt, gibt es einen
Sprung in die mediterrane
Vulkanlandschaft
Suditaliens, wo - nach
einem Text von Leonardo
Da Vinci - ,,die
Schwefelfeuer den grossen
Berg offnen, um Steine
und Erde samt den
heraustretenden und
herausgespieenen Flammen
durch die Luft zu
schleudern, und im
Ausbruch ,,jedes
Hindernis verjagen, das
sich ihrem ungestumen
Wuten entgegenstellt.
Leonardo sieht in diesem
Naturvorgang eine
Metapher fur die Unruhe
des menschlichen Herzens
bei der Suche nach
Erkenntnis. Er beschreibt
eine Wanderung durch die
schattigen Klippen
hindurch bis vor den
Eingang einer grossen
Hohle, vor welcher der
Erzahlende ,,im Gefuhl
der Unwissenheit eine
Zeitlang verharrt: ,,Ich
hockte mit gekrummtem
Rucken, die mude Hand
aufs Knie gestutzt,
beschattete ich mit der
Rechten die gesenkten und
geschlossenen Wimpern: -
und n u n -, da ich mich
mehrmals hin und her
beugte, um in die Hohle
hineinzublicken, verbot
mir das die grosse
Dunkelheit, die darin
herrschte. Als ich aber
eine Zeitlang verharrt
hatte, erwachten in mir
zwei Gefuhle: Furcht und
Verlangen - Furcht vor
der drohenden Dunkelheit
der Hohle, Verlangen
aber, mit eigenen Augen
zu sehen, was an
Wunderbarem darin sein
mochte. Diesem ,,n u n
ist meine Komposition
gewidmet: Sie - ahnlich
wie auf andere Weise mein
Klavierkonzert Ausklang -
ist sozusagen ,,meine
Alpensymphonie. Anders
als bei Strauss
allerdings beschwort sie
Energien und Eruptionen
in einer Klanglandschaft
weitab von jeglicher
musiksprachlichen
Geborgenheit. Wahrend im
Strauss'schen Meisterwerk
der Wanderer aus
stimmungsvollem
b-moll-Morgennebel
aufbricht - allerdings
erst den in A-Dur
strahlenden Sonnenaufgang
abwartet ... - und in
frohlichem Es-Dur
lossturmend auf tonal
gesicherten Wegen zum
majestatischen
C-dur-Gipfel glucklich
hinaufgelangt - den er
allerdings bei
hereinbrechendem Unwetter
eilends verlasst, um ins
schutzende Tal
hinabzufluchten -,
verharrt der Wanderer
Leonardos in NUN in
unwirtlicher Hohe vor
jener Furcht und
Verlangen erregenden
Hohle. Meine Musik,
sozusagen als brodelnder
Krater beginnend,
verwandelt sich in eine
Sequenz von Rufen, deren
Widerhall die ,,drohende
Finsternis zu
durchdringen und
auszuloten versucht, und
sie mundet - auf dem
Umweg uber eine Art
,,Tanz auf dem Vulkan der
beiden Solo-Instrumente -
in eine instrumental
paraphrasierte
Sprech-Landschaft, als ob
das Zischen und Fauchen,
nichts weiter wiedergabe
als die erweiterten
Konsonanten eines
gesprochenen imaginaren
Textes. Dieser
schliesslich - als
Botschaft des im
Ungeborgenen nach
Erkenntnis Suchenden -
konkretisiert sich zu
jenem abgrundigen Satz
des japanischen
Philosophen und Grunders
der ,,Kyoto-Schule,
Kitaro Nishida: ,,Das Ich
ist kein Ding, sondern
ein Ort. Die Beziehung
meines Werks zur
Strauss'schen
Alpensymphonie - der
Komponist wollte sie
ursprunglich nennen ,,der
Antichrist - ist in ihrer
antipodischen
Gegensatzlichkeit
evident. Es ist eine
machtvolle, letztlich
aber gutige, dem Menschen
zugewandte, idyllische
Natur, die bei Strauss
beschworen wird, und den
nachtlich in die
hausliche Behaglichkeit
Heimkehrenden erfullt
Ehrfurcht und
Dankbarkeit: es ist ein
,,glaubiger Antichrist,
und die Pastorale
Beethovens lasst grussen.
Wie alles von Strauss war
es ein - s e i n -
letzter (oder vorletzter
...) Blick auf ein
zerfallendes Paradies
(1915 geschrieben ...).
Heute ist vielleicht
jedes Werk, welches sich
den innovativen Anspruch
von musikalischer
Tradition zu Eigen
gemacht hat und im 21.
Jahrhundert den
Musikbegriff jenseits
tonaler
Sprachvertrautheit in
ungesichertem
Klang-Terrain neu zu
bestimmen sucht - eine
Art Bergbesteigung in
weglosem Gelande, und
wenn schon nicht eine
,,Alpensymphonie, so doch
eine Gratwanderung:
abenteuerlich -
verlockend - nicht
ungefahrlich: ,,non hay
caminos .... Helmut
Lachenmann (Februar
2003)CDs: Gaby Pas-Van
Riet (flute), Michael
Svoboda (trombone), Neue
Vocalsolisten Stuttgart,
WDR Sinfonieorchester
Koln, cond. Jonathan Nott
CD KAIROS
0012142KAIDietmar Wiesner
(flute), Uwe Dierksen
(trombone), SCHOLA
Heidelberg, Ensemble
Modern Orchestra, cond.
Markus
StenzEMCD-004Bibliography
:Hidalgo, Manuel: Mozart
in Lachenmann, in: auf
(-) und zuhoren. 14
essayistische Reflexionen
uber die Musik und die
Person Helmut
Lachenmanns, hrsg. von
Hans-Peter Jahn, Hofheim:
Wolke 2005, pp.
35-46.Hiekel, Jorn Peter:
Interkulturalitat als
existentielle Erfahrung.
Asiatische Perspektiven
in Helmut Lachenmanns
Asthetik, in:
Nachgedachte Musik.
Studien zum Werk von
Helmut Lachenmann, hrsg.
von Jorn Peter Hiekel und
Siegfried Mauser,
Saarbrucken: Pfau 2005,
pp. 62-84.Kaltenecker,
Martin: Was nun? Die
Musik Helmut Lachenmanns
als Beispiel, in: Der
Atem des Wanderers. Der
Komponist Helmut
Lachenmann, hrsg. von
Hans-Klaus Jungheinrich,
Mainz: Schott 2006, pp.
113-128.Maier, Birgit;
Britz, Vanessa; Arnold,
Miriam: Helmut
Lachenmann: NUN, in:
Flote aktuell (2003),
Heft 4, pp. 20-24.Pas-Van
Riet, Gaby: On NUN, in:
Helmut Lachenmann Inward
Beauty, hrsg. von Dan
Albertson, Contemporary
Music Review 23 (2004),
Heft 3/4, p.
165f.Svoboda, Mike: NUN
An Inside View, in:
Helmut Lachenmann Inward
Beauty, hrsg. von Dan
Albertson, Contemporary
Music Review 23 (2004),
Heft 3/4, pp.
161-164.Wellmer,
Albrecht: Helmut
Lachenmann: Die Befreiung
des Klangs in der
konstruktivistischen
Tradition der
europaischen Moderne, in:
ders., Versuch uber Musik
und Sprache, Munchen:
Hanser 2009, pp.
270-299.Utz, Christian:
Paradoxien musikalischer
Temporalitat. Die
Konstruktion von
Klanggegenwart im
Spatwerk Bernd Alois
Zimmermanns im Kontext
der Prasenzasthetik bei
Giacinto Scelsi, Gyorgy
Ligeti, Morton Feldman
und Helmut Lachenmann,
in: Die Musikforschung 68
(2015), pp.
22-52.
World
premiere: Cologne (Musik
der Zeit), October 20,
1999 World premiere of
the revised version:
Berlin, Konzerthaus,
January 17, 2003. $102.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| 100 Christmas Carols and Hymns for Flute and Guitar
Flûte et Guitare - Intermédiaire
Mel Bay
With Suggested Chordal Accompaniment. Composed by William Bay. Flute, Fife and...(+)
With Suggested Chordal
Accompaniment. Composed
by
William Bay. Flute, Fife
and
Oboe,Guitar: Gospel and
Sacred,Style,Duets and
Ensembles,Solos,Duets and
Ensemble,Solos,Holiday:
Christmas. 100 Hymns.
Book.
124 pages. Published by
Mel
Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Music for Three, Volume 1, Part 1 - Flute/Oboe/Violin [Partie séparée]
Last Resort Music Publishing
Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin....(+)
Mixed Trios. By Various.
Arranged by Daniel
Kelley. For Flute or Oboe
or Violin. Trios. Music
for Three. Classical /
Baroque. Level:
Intermediate/Advanced.
Part 1. Published by Last
Resort Music Publishing.
(1)$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Music for Three, Volume 1, Part 2 - Flute/Oboe/Violin [Partie séparée]
Last Resort Music Publishing
(Mixed Trios). By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violi...(+)
(Mixed Trios). By
Various. Arranged by
Daniel Kelley. For Flute
or Oboe or Violin. Trios.
Music for Three.
Classical / Baroque.
Intermediate/Advanced.
Part 2
$20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Music for Christmas - Weihnachtsmusik - pour Noël [Conducteur et Parties séparées]
EMB (Editio Musica Budapest)
Chamber Ensemble SKU: BT.EMBZ14946 With optional combinations of instr...(+)
Chamber Ensemble SKU:
BT.EMBZ14946 With
optional combinations of
instruments - mit
variabler Besetzung.
By András Soós. EMB
Ad Libitum. Educational
Tool. Set (Score &
Parts). Composed 2015.
102 pages. Editio Musica
Budapest #EMBZ14946.
Published by Editio
Musica Budapest
(BT.EMBZ14946).
Hungarian-English-Germ
an-French. The
volumes of the Ad libitum
series contain duos,
trios and quartets of
easy, medium and advanced
levels of difficulty,
which are playable with
various combinations of
instruments. Ad libitum
Family Edition volumes
are recommended mainly
for families or groups of
friends where at least
three people play an
instrument. Each of the
pieces included can be
performed using flexible
instrumentation, whether
there are three, four or
even five persons who
would like to play
together. This volume
contains the finest of
easily playable pieces
for Christmas and Advent.
Some can include a
singer, so that a vocal
part appears with the
instrumental ones. At
least two melodic and
oneaccompanying
instruments are required
to perform the piecesPart
I - violin / descant
recorder / flute / oboe /
clarinet / soprano
saxophone / trumpetPart
II - violin / treble
recorder / clarinet /
trumpetAccompaniment-
piano / guitarAny of the
following optional parts
can be addedVoice (ad
libitum)Percussion (ad
libitum)Bass (ad
libitum)- cello / bassoon
/ euphonium
Die
Bände der Serie Ad
libitum enthalten
leichte, mittelschwere
sowie für
Fortgeschrittene
geeignete Duos, Trios und
Quartette variabler
Besetzung. Die Bände
von Ad libitum
Familienedition sind vor
allem Familien und
Freundeskreisen zu
empfehlen, in denen
mehrere auf einem
beliebigen Instrument
spielen. Sämtliche
Stücke lassen sich in
vielfältiger Besetzung
spielen, ganz gleich, ob
man zu dritt, zu viert
oder zu fünft
musizieren möchte.
Dieser Band wurde aus den
schönsten, aber leicht
zu spielenden Advents-
und Weihnachtsstücken
zusammengestellt, zu
denen sich teilweise auch
eine Singstimme gesellen
kann. Deshalb wurde dem
Stimmenmaterial der
Instrumente auch Noten
fürdie Singstimme
beigefügt. $26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| The Ultimate Organ Book
Orgue [Partition]
Hope Publishing Company
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H.
Hopson. Church-Worship,
Funeral, Funeral &
Memorial, Wedding and
Sacred. Print Music
Collection (Book). 407
pages. Published by Hope
Publishing Company.
Level: (Moderate).
(4)$79.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Les Paladins RCT 51
Orchestre
Barenreiter
Orchestra (Flutes (2) (Picc), Oboes (2), 2Musettes, Bassoons (2), Horns (2), Str...(+)
Orchestra (Flutes (2)
(Picc), Oboes (2),
2Musettes, Bassoons (2),
Horns (2), Strings, Basso
continuo) SKU:
BA.BA08893
Comédie-ballet in
three Acts. Composed
by Jean-Philippe Rameau.
Edited by Thomas Soury.
This edition: urtext
edition. Paperback.
Symphonies. Score,
anthology. RCT 51.
Baerenreiter Verlag
#BA08893_00. Published by
Baerenreiter Verlag
(BA.BA08893). ISBN
9790006567560. 33 x 24.3
cm inches. Text: Duplat
de Monticourt,
Pierre-Jacques. Thi
s edition unites all the
purely instrumental parts
of Rameau’s
comdie-ballet “Les
Paladins†for
performance as a suite in
the concert
hall.
In view of
the wealth of the
work’s musical
treasures and the
stylistic innovations
– similar to the
“Boradesâ€
– the rather
frosty reception of the
premiere series in the
spring of 1760 seems
completely
incomprehensible to us
today. It led to this
stage work not being
performed again until
well into the 20th
century. The story that
the comdie-ballet tells
is based on a fable by La
Fontaine, “Le Petit
chien qui secoue de
l’argent et des
pierreries†(i.e.
“The little dog who
shakes silver and
stonesâ€). In
medieval Veneto, the
guardian Anselme
undermines the love
affairs of his ward
Argies. Scenes of tragic
expression are contrasted
with folk-comic ones; and
last but not least, the
sexually ambiguous fairy
Manto may have caused
difficulties for the bold
work at the Paris
Opra.
This
critical edition is based
on the corresponding
volume issued in the
series “Opera omnia
Rameau†(BA
8870-01). Since
“Les
Paladins†remained
unpublished during
Rameau’s lifetime
and was also not included
in the “Œuvres
complètesâ€, this
is the first edition of
the work. It satisfies
both scholarly demand and
the practical needs of
musicians.
The
orchestral parts are
available on
hire.
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
$109.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Intermediate Music for Three, Christmas - Set of 3 Parts for String Trio (2 Violins, Cello)
Trio à Cordes: 2 violons, violoncelle - Intermédiaire
Last Resort Music Publishing
(Mix and Match Trios for Strings, Woodwinds, Saxophones and Keyboard). By Variou...(+)
(Mix and Match Trios for
Strings, Woodwinds,
Saxophones and Keyboard).
By Various. Arranged by
Daniel Kelley. String
Trio, Wind Trio, Mixed
Trio. For
Flute/Oboe/Violin in C,
Flute/Oboe/Violin in C ,
Cello/Bassoon. Trios.
Includes a set of three
parts (Par
$52.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Play for the Lord - Volume 5
GIA Publications
Keyboard, C instrument SKU: GI.G-003044 Christmas Carols for C Instrum...(+)
Keyboard, C instrument
SKU: GI.G-003044
Christmas Carols for C
Instrument and Piano.
Composed by Robert
Farrell. Arranged by
Robert Farrell. Advent,
Christmastide. Tune Name:
In Dulci Jubilo, Il Est
Ne, I Saw Three Ships,
Cranham, Es Ist Ein Ros'
Entsprungen, Besançon
Carol, Ihr Kinderlein
Kommet, Lulajże
Jezuniu, Une Jeune
Pucelle, Un Flambeau,
Hajej Nynjej, W
Żłobie Leży.
Sacred. GIA Publications
#003044. Published by GIA
Publications
(GI.G-003044).
A collection of
Christmas carols arranged
by Robert Farrell. The C
instrument part in this
volume can be played by
flute, violin, or oboe.
Hymns include:Â Good
Christian Men, Rejoice,
He Is Born, The Divine
Christ Child, I Saw Three
Ships, In The Bleak
Midwinter, Lo, How A Rose
E’er Blooming,
People, Look East, O
Come, Little Children,
Sleep, My Child Jesus,
The Huron Carol, Bring A
Torch, Jeannette,
Isabella, The Rocking
Carol, Infant Holy,
Infant Lowly. $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| 70 Rheinsberger Solfeggien
Flûte traversière
Hofmeister Musikverlag
Flute - Level 3-4 SKU: HF.FH-3381 Ein Flotenbuch fur Friedrich II....(+)
Flute - Level 3-4 SKU:
HF.FH-3381 Ein
Flotenbuch fur Friedrich
II.. Edited by
Liedtke. Sheet music.
Friedrich Hofmeister
Musikverlag #FH 3381.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-3381). ISBN
9790203433811. 9 x 12
inches. 1.
Solfeggio fur Flote
(Agnesens, Udo); 2.
Solfeggio fur Altflote in
G (Baader-Nobs, Heidi);
3. Joshua, fur Grosse
Flote (Brandt,
Christopher); 4. Solfege
Sous-si, sans-fa fur
Piccoloflote
(Brandmuller, Theo); 5.
Solfeggio fur
Altblockflote (Buchholz,
Thomas); 6. 5-7-9,
Solfeggio fur Flote
(Burkholz, Thomas); 7.
Solfeggio, fur Flote
(Eun-Hwa, Cho); 8. Etude
fur Friedrich den Grossen
fur Piccolo-Flote oder
Flote (Dinescu, Violeta);
9. Solfeggio fur Flote
solo (Eggert, Moritz);
10. geradlinig, fur Flote
(Elikowski-Winkler,
Sebastian); 11. Solfeggio
uber sol, fa und la fur
jede Stimme
(Emeliantseva, Irina);
12. Solfeggio fur
Sopranblockflote
(Gatzmaga, Johann Lukas);
13. Miniatur 9/61 fur
Querflote solo (Gerwin,
Thomas); 14. kattethym
fur Flote (Glandien,
Lutz); Solfeggio fur
Traversflote und
Sprechstimme (Gubler,
Rico); 15. Solfeggien fur
F. von seiner
ghostwriterin fur Flote
(Heller, Barbara); 16.
Sol-fedch-o fur Flote
(Hildebrandt, Johannes
K.); 17. 3 Farben fur
Piccoloflote (Hirsch,
Michael); 18. Ming II,
Solfeggio fur Flote
(Hoche, Hubert); 19.
Solfeggion fur Flote solo
(Hoyer, Ralf); 20.
Solfeggio fur Friedrich
II fur Alt- oder
Bassflote solo (Iranyi,
Gabriel); 21. approche II
fur Flote (Jann,
Matthias); 22. Petit
hommage a Frederic II fur
Flote (Katzer, Georg);
23. Solfeggio fur Flote
(Keller, Hermann); 24.
Solfeggio du roi et pour
le roi fur Flote (Keller,
Max E.); 25. Solfeggio
fur Flote oder Oboe in
G-Dur (Kirchner, Danny);
26. Solfeggio in F fur
Flote (Kobjela, Detlef);
27. Solfeggio Rosettafur
Friedrich II fur Flote
(Kram, Christian FP); 28.
Solfeggio fur Friedrich
fur Grosse Flote,
Piccoloflote, Altflote
und Kuckucksflote
(Kratzschmar, Wilfried);
29. Solfeggion (to his
brain) fur Querflote
(Krimitza, Vasiliki); 30.
Solfeggio fur Flote
(Levitskiy, Benjamin);
31. Je m' en fifre fur
Flote (Lienenkamper,
Stefan); 32. Solfeggio
fur Flote solo (Ludwig,
Marcus Botho); 33.
Hochtief - Tiefhoch / a
Solfeggio for Piccolo
(Mack, Dieter); 34.
Solfeggio nach einem
Cornet-Thema fur Piccolo
(Matthus, Siegfried); 35.
Solfeggion No. X fur
Altflote in G (Merkel,
Marcus); 36. Solfeggio
per flauto alto (Meyer,
Krzysztof); 37. ...und
Friedrich der Grosse, fur
Flote (MOller, Mathias
Monrad); 38. Die bunten
Vogel des Konigs fur
Floteninstrumente
(Muller, Alfred Thomas);
39. Solfeggio fur Flote
(Muller-Goldboom,
Gerhardt); 40.
Flotenspiel fur Floten
(Munch, Christian); 41.
Solfeggio 1, 2 fur Flote
(Nather, Gisbert); 42.
Solfeggio per Flauto
(Natschinski, Gerd); 43.
SOL fur Flote (oder
Bassflote) solo (Nemtsov,
Sarah); 44. 3 Solfeggien
Hommage a F. R.
(Fridericus Rex) fur
Flote (Neubert, Gunter);
45. Solfeggio fur Flote
(Oehring, Helmut); 46.
Solfeggio 1 fur
F-r-i-E-D-r-i-C-H &
Solfeggio 2 fur Friedrich
fur Flote (Pfundt,
Reinhard); 47. Solfeggio
... no words ... fur
Flote (Pinnock, Naomi);
48. Solfeggio fur Flote
(Pomorin, Sibylle); 49.
Divertimento (mit
kaputter Klappe) fur
Flote (Querfurth,
Kaspar); 50. Solfeggio
fur grosse Flote
(Reinhold, Gregor und
Steffen); 51. Abschied
fur Flote (Riehm, Rolf);
52. contrapunctum fur
Flote (Romero, Lula); 53.
Solfeggio fur grosse
Flote solo (Sanders,
Arne); 54. Solfeggio fur
Bassflote (Schafer,
Patrick); 55. Solfeggio
fur Flote solo
(Schellhase, Steffen);
56. Solfeggien fur Flote,
in Erinnerung an den
flotenden Friedrich II,
Konig von Preussen
(Schenker, Friedrich);
57. Solfeggio fur und mit
F. fur Flote
(Schleiermacher,
Steffen); 58. Seul avec
des ombres fur Altflote
in G oder grosse Flote
(Seither, Charlotte); 59.
Ithaka. Exzerpt fur
grosse Flote oder
Bassflote solo (Stabler,
Gerhard); 60. Ri - Ri,
Solfeggio fur Friedrich
II, fur Flote solo
(Stier, Sebastian); 61.
Solfeggio En bateau fur
Flote (Ternes, Tina); 62.
Solfeggio (Burleske) fur
Flote solo (Thiel,
Wolfgang); 63. Piccolino
solfeggio per Federico
per Flauto traverso
(Thiele, Siegfried); 64.
Solfeggio f. F. fur Flote
(Treibmann, Karl
Ottomar); 65. Solfeggio
fur Flote solo (Waschk,
Arno); 66. Solfeggio fur
Flote (Wiegand, Mario);
67. VI. for Carin Levine
(Williamson, Gordon); 68.
Solfeggio fur Flote
(Witte, Michael); 69.
articolazione e tempo fur
Flote (Zapf, Helmut). $40.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| 101 Most Beautiful Songs (Flute)
Flûte traversière [Partition + Accès audio]
Hal Leonard
For Flute. By Various. Instrumental Folio. Pop, Standards. Softcover. Publish...(+)
For Flute. By Various.
Instrumental Folio. Pop,
Standards. Softcover.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées]
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115109
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext. 1x
31.151/21 flute, 1x
31.151/22 oboe d'amore.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. Composed
1725. BWV 151. 8 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/09. Published by
Carus Verlag
(CA.3115109). ISBN
9790007208615. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and parts
available separately -
see item CA.3115100. $7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115113
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Viola. Composed 1725. BWV
151. 4 pages. Duration 19
minutes. Carus Verlag #CV
31.151/13. Published by
Carus Verlag
(CA.3115113). ISBN
9790007049409. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115149
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Organ. Composed 1725. BWV
151. 8 pages. Duration 19
minutes. Carus Verlag #CV
31.151/49. Published by
Carus Verlag
(CA.3115149). ISBN
9790007049430. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100. $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115114
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Cello/Double Bass.
Composed 1725. BWV 151. 8
pages. Duration 19
minutes. Carus Verlag #CV
31.151/14. Published by
Carus Verlag
(CA.3115114). ISBN
9790007049416. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115111
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Violin 1. Composed 1725.
BWV 151. 4 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/11. Published by
Carus Verlag
(CA.3115111). ISBN
9790007049386. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115112
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Violin 2. Composed 1725.
BWV 151. 4 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/12. Published by
Carus Verlag
(CA.3115112). ISBN
9790007049393. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Play for the Lord - Volume 2
GIA Publications
Keyboard, C instrument SKU: GI.G-003041 Seasonal Hymn Preludes for C I...(+)
Keyboard, C instrument
SKU: GI.G-003041
Seasonal Hymn Preludes
for C Instrument and
Piano. Arranged by
James E Clemens. Tune
Name: Es Ist Ein
Ros’ Entsprugen,
Adeste Fidelis, Puer
Nobis, Star In The East,
Erhalt Uns, Herr, Passion
Chorale, Freu Dich Sehr,
Vruechten, Veni, Creator
Spiritus. Sacred. GIA
Publications #003041.
Published by GIA
Publications
(GI.G-003041).
A collection of
seasonal hymn preludes
arranged by James
Clemens. The C Instrument
part in this volume can
be played by flute,
violin, or oboe. Â
 . $14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
Orchestra SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, ba...(+)
Orchestra SATB vocal
soli, SATB choir, flute,
oboe d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115107
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Study score.
Composed 1725. BWV 151.
28 pages. Duration 19
minutes. Carus Verlag #CV
31.151/07. Published by
Carus Verlag
(CA.3115107). ISBN
9790007092474. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score available
separately - see item
CA.3115100. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Susser Trost, mein Jesus kommt
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso contin...(+)
SATB vocal soli, SATB
choir, flute, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3115105
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Choral Score.
Composed 1725. BWV 151. 2
pages. Duration 19
minutes. Carus Verlag #CV
31.151/05. Published by
Carus Verlag
(CA.3115105). ISBN
9790007049379. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms. Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score available
separately - see item
CA.3115100. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Variations for Oboe & Piano
Hautbois, Piano (duo)
Clifton Edition
Oboe and piano SKU: ST.C461 Composed by Various. Wind & brass music. Clif...(+)
Oboe and piano SKU:
ST.C461 Composed by
Various. Wind & brass
music. Clifton Edition
#C461. Published by
Clifton Edition
(ST.C461). ISBN
9790570814619.
This edition replaces the
old Nova Edition NM394
and the subsequent but
also now defunct EMA142.
Both previous editions
are now out of print.
This is a freshly edited,
updated and greatly
improved
edition.
[bg_colla
pse view=link
color=#4a4949 icon=arrow
expand_text=Show More
collapse_text=Show Less
]
Gioacchino
Rossini: Variations for
Oboe and Piano
Rossini
was still a student at
the Liceo Filarmonico in
Bologna when he wrote
these Variations at the
age of 18. Originally
thought to have been
written for Clarinet in C
and Orchestra, recent
scholarship, culminating
in Heinz Holliger’s
brilliant recording
(Philips 9500 564), has
provided many good
reasons why the oboe is
clearly the solo
instrument. Not only does
it ‘look like’ oboe
music but the writing
(within the oboe’s
exact range at that time)
ignores more than an
octave of the
clarinet’s potential
range. Also, it is most
unusual to find the solo
wind instrument
duplicated in the
accompanying orchestral
parts, thus providing
unnecessary competition
in
timbre.
Frédéric
Chopin: Variations on a
Theme by Rossini
No
such ambiguity surrounds
the origin of Chopin’s
Variations on a Theme
from Rossini’s opera
La Cenerentola
— orginally for flute.
It is not definitely
known for whom they were
written, but they may
have been either for his
father (who played the
flute), or for his close
friend Matuszynski. They
date from 1826-30 and
here transposed from the
original E major into D
major for the oboe,
provide a valuable
addition to the
oboist’s nineteenth
century
repertoire.
[/bg_c
ollapse]
Arranged
by
Mark
Goddard
Grades
7–8
Former Spartan
Press Cat. No.:
EMA142.
$14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| FLASH!
Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clari...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabassoon, Euphonium,
Flute 1, Flute 2, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Piccolo
and more. SKU:
PR.115402040 For
Piccolo and Band.
Composed by Daniel Dorff.
This edition: Band.
Premiere: Walfrid Kujala
piccolo, Mitchell Fennell
conducting the California
State University -
Fullerton wind ensemble,
at 2010 NFA convention.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 8-Oct.
60+12+12+4+4+4+16+16+16+4
+3+3+3+8+8+8+4+6+6+6+3+3+
3+3+6+6+6+6+3+27+3+8
pages. Duration 6:30.
Theodore Presser Company
#115-40204. Published by
Theodore Presser Company
(PR.115402040). UPC:
680160591220. 9.5 x 13
inches. Key: G
major. Already a
popular recital work for
piccolo and piano, and
winner of the 2009
International Piccolo
Symposium biennial
composition competition,
Flash! is now available
for solo piccolo with
band accompaniment -
fresh from the NFA
premiere, featuring
piccolo legend Walfrid
Kujala. The East Coast
premiere is scheduled for
11/18/10, featuring
Boston Symphony
piccoloist Linda Toote
with the Boston
University wind
ensemble.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| English Airs and Dances
Flûte traversière [Partition + CD]
Schott
16 Easy to Intermediate Pieces from 18th-century England Violin (Flute or Oboe) ...(+)
16 Easy to Intermediate
Pieces from 18th-century
England Violin (Flute or
Oboe) and Keyboard. By
Judith E. Barlow,
Various. Arranged by
Jeremy Barlow. (Violin).
Schott. BOOK W/CD. Size
9x12 inches. 58 pages.
Published by Schott.
$24.99 - Voir plus => AcheterDélais: 3 to 5 business days | | | |
| Cantica Comeniana
Soeddeutscher Musikverlag
10 Gesange aus dem "Amsterdamer Cancional" des Jan Amos Comenius fur g...(+)
10 Gesange aus dem
"Amsterdamer
Cancional" des Jan
Amos Comenius fur gleiche
und gemischte Stimmen,
Melodie-Instrument
(Bfl-A) ad lib. By Petr
Eben. For Choir, Alto
Recorder
(F,G)/Flute/Violin/Oboe
Ad Lib. Singing Score;
Playing Score. Published
by Soeddeutscher
Musikverlag (German
import).
$16.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| FLASH! [Conducteur]
Theodore Presser Co.
Band 2 Bassoons, 2 Bb Clarinets, 2 Eb Alto Saxophones, 2 Flutes, 2 Oboes, 2 Trom...(+)
Band 2 Bassoons, 2 Bb
Clarinets, 2 Eb Alto
Saxophones, 2 Flutes, 2
Oboes, 2 Trombones, 3 Bb
Trumpets, 3 Percussion, 4
F Horns, Bass Trombone,
Bb Bass Clarinet, Bb
Tenor Saxophone,
Contrabassoon, Eb
Baritone Saxophone, Eb
Clarinet, Euphonium, Solo
Piccolo, Tuba SKU:
PR.11540204F For
Piccolo and Band.
Composed by Daniel Dorff.
This edition: Band.
Contemporary. Full score.
With Standard notation.
Composed 8-Oct. 60 pages.
Duration 6:30. Theodore
Presser Company
#115-40204F. Published by
Theodore Presser Company
(PR.11540204F). UPC:
680160591237. Key: G
major. Already a
popular recital work for
piccolo and piano, and
winner of the 2009
International Piccolo
Symposium biennial
composition competition,
Flash! is now available
for solo piccolo with
band accompaniment -
fresh from the NFA
premiere, featuring
piccolo legend Walfrid
Kujala. The East Coast
premiere is scheduled for
11/18/10, featuring
Boston Symphony
piccoloist Linda Toote
with the Boston
University wind
ensemble.
By 2008,
Sonatine de Giverny was
being performed so
frequently that I decided
to write another piccolo
piece as soon as an
opportunity arose. Since
Giverny is a study in
French style, I knew the
new piece must be in my
own authentic American
voice. That summer,
Giverny was performed six
times at the NFA
convention as a mandatory
competition piece, and I
returned from the August
2008 convention all
charged up to write
something different for
piccolo. In September,
Kate Prestia-Schaub wrote
to tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete. Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010. More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention.
By
2008, Sonatine de
Giverny was being
performed so frequently
that I decided to write
another piccolo piece as
soon as an opportunity
arose.
Since Giverny is a
study in French style, I
knew the new piece must
be in my own authentic
American voice. That
summer, Giverny was
performed six times at
the NFA convention as a
mandatory competition
piece, and I returned
from the August 2008
convention all charged up
to write something
different for piccolo.In
September, Kate
Prestia-Schaub wrote to
tell me about the
International Piccolo
Symposium's new composer
competition. She proposed
that if I write a new
piccolo/piano piece, she
would record a demo for
me to submit to the
competition, and she
would submit applications
to perform it at the 2009
IPS convention and NFA
convention. What amazing
timing! I set out to
compose a flashy
showpiece with a jazzy
snap, lots of idiomatic
scales and arpeggios, and
a scary middle section,
and by mid-October FLASH!
was complete.Kate
followed suit and all 3
wishes came true - FLASH!
won first prize in the
IPS composer competition,
and she performed it both
there and at NFA. In the
meantime many other
piccoloists have added
the work to their
repertoire, Cynthia Ellis
wrote an article about it
for Flute Talk magazine,
and Walfrid Kujala
commissioned a band
accompaniment to premiere
at NFA in 2010.More
recently, Sarah Jackson
has commissioned an
orchestra version,
premiered at the 2014 NFA
convention. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|
