Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Par ZELENKA JAN DISMAS. The Missa Omnium Sanctorum ZWV 21 is Zelenka?s last mass setting. It contains three extended arias (one each for soprano, alto and tenor), concertante choruses and unusually expressive choral fugues. Especially powerful in effect is the through-composed Credo in this mass, with a ritornello that is one of Zelenka?s most beautiful inspirations. The score and parts material of this new edition are based on the corresponding volume of the ?Das Erbe deutscher Musik? series, from which Breitkopf and Härtel also took over both its informative preface as well as the critical report. 'Zelenka?s artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting' I think that he still has several surprises for us.' (Schweizerische Musikzeitung) 'Zelenka?s Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach.' (Die Welt) / Date parution : 2023-06-16/ Répertoire / Choeur Mixte SATB et Piano

Une compilation de 100 classiques du Rock par les plus grands noms: AC/DC, Dire Straits, Metallica, Oasis, The Rolling Stones et plein d'autres encore!' Partitions pour chant, guitare (diagrammes d'accords) avec les paroles complètes et la ligne mélodique du chant. / Variétés / Partition /

Par PURCELL HENRY. Purcell Dido and Aeneas (Full Score, paperback) The opera ?Dido and Aeneas?, a recount of the well-known story from Book IV of Virgil's Aeneid, has established itself as a favourite with the public. This is due to the skill of composer Henry Purcell and his librettist Nahum Tate, who combined an overriding tragic theme with masterfully inserted comic episodes. Long believed to have been conceived in 1689 for a performance at a ?School for Young Gentlewomen?, scholars have debated the origins of ?Dido? in recent decades, a process hampered by the lack of early musical sources. This edition addresses these challenges and evaluates the earliest sources that reproduce the opera in its surviving form. Surprisingly, these date from the 1770s and 80s, some ninety years after the work was written. Three key manuscripts ? now held at the Bodleian Library in Oxford (UK), at Tatton Park Library which is a National Trust property near Manchester (UK), and at the Wakayama Prefectural Library (Japan) - were all copied from the same original, most likely a handwritten score from 1704 which reappeared in the early 1770s, only to disappear again. This is the first 'Dido' edition based on the Tatton Park manuscript as the main source. It was produced during the second half of the 18th century by Philip Hayes, one of England's most prominent musicians. He was known in musicology for his meticulous copies of Purcell's music, often from the autograph manuscripts. The Bodleian and Wakayama manuscripts are presented in a new light and their role in this edition has been reassessed accordingly. - Urtext edition based for the first time on the Tatton Park manuscript as the main source - Informative Foreword (Eng/Ger) on the genesis, transmission, reception and performance practice - Complete facsimile reproduction of the Chelsea libretto / Date parution : 2023-06-01/ Répertoire / Solistes, Choeur Mixte et Orchestre

La collection The Little Black Book s'agrandit avec ce volume contenant uniquement des chansons du 21ème siècle.
Au format de poche, vous retrouverez dans ce livre les partitions pour chant (paroles complètes) et guitare (grilles d'accords) de plus de 60 tubes de ce dernier siècle. Inclus des artistes comme Oasis, U2, Rihanna, Gossip, Eminem, Muse, Lady Gaga ou encore Mika.
Titres :
1973 [Blunt, James]
A-Punk [Vampire Weekend]
Are You Gonna Be My Girl [Jet]
Beautiful Day [U2]
Best Of You [Foo Fighters]
Bleeding Love [Lewis, Leona]
Broken Strings [Morrison, James] [Furtado, Nelly]
Can?t Get You Out Of My Head [Minogue, Kylie]
Chasing Cars [Snow Patrol]
Chasing Pavements [Adele]
Complicated [Lavigne, Avril]
Crazy [Barkley, Gnarls]
Dakota [Stereophonics]
Danger! High Voltage [Electric Six]
Death [White Lies]
Dog Days Are Over [Florence The Machine]
Dry Your Eyes [Streets, The]
Feel [Williams, Robbie]
Feel Good Inc. [Gorillaz]
Feeling Good [Muse]
Golden Skans [Klaxons]
Golden Touch [Razorlight]
Gotta Get Thru This [Bedingfield, Daniel]
Grace Kelly [Mika]
Great DJ [Ting Tings, The]
Here With Me [Dido]
Hey Ya! [OutKast]
Hoppípolla [Sigur Rós]
I Believe In A Thing Called Love [Darkness, The]
I Don?t Feel Like Dancin? [Scissor Sisters]
I Just Don?t Know What To Do With Myself [White Stripes, The]
I Kissed A Girl [Perry, Katy]
I Predict A Riot [Kaiser Chiefs]
In The End [Linkin Park]
It?s My Life [Bon Jovi]
Jenny Don?t Be Hasty [Nutini, Paolo]
La Ritournelle [Tellier, Sébastien]
Leave Right Now [Young, Will]
Like I Love You [Timberlake, Justin]
Little Lion Man [Mumford and Sons]
Little Sister [Queens Of The Stone Age]
Lose Yourself [Eminem]
Maps [Yeah Yeah Yeahs]
Mr. Brightside [Killers, The]
Naïve [Kooks, The]
Paper Planes [M.I.A.]
Patience [Take That]
Poker Face [Lady Gaga]
Roscoe [Midlake]
Sex On Fire [Kings Of Leon]
Smile [Allen, Lily]
Somewhere Only We Know [Keane]
Standing In The Way Of Control [Gossip]
Suddenly I See [Tunstall, KT]
Sweet Disposition [Temper Trap, The]
Take Me Out [Ferdinand, Franz]
The Importance Of Being Idle [Oasis]
The One I Love [Gray, David]
The Seed (2.0) [Roots, The] [ChesnuTT, Cody]
This Love [Maroon 5]
Time To Pretend [MGMT]
Toxic [Spears, Britney]
Trouble [LaMontagne, Ray]
Umbrella [Rihanna] [Jay-Z]
Viva La Vida [Coldplay]
Warwick Avenue [Duffy]
White Winter Hymnal [Fleet Foxes]
Your Love Alone Is Not Enough [Manic Street Preachers]

Par WAGNER RICHARD. Richard Wagner's Tristan and Isolde for Voice and Piano accompaniment. Tristan and Isolde is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan by Gottfried von Strassburg. / Opéra-opérette / Répertoire / Opéra

2 Solo Sopranos, 2 Solo Altos, 3 Solo Tenors, 2 Solo Basses, Mixed Choir and Orchestra. Par MONTEVERDI CLAUDIO. Scholarly-critical Urtext edition orientated towards performance practice. Detailed critical commentary (Eng) in the full score. Movements 10, 13 and 14 are included in their original high clef in the appendix of the full score. These movements are also available with Piano reduction as print-on-demand. Claudio Monteverdi’s “Vespro della Beata Vergine” is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts. The Urtext edition of this well-known work has unusual origins. It originated from a graduate seminar at the University of North Texas, under thedirection of the Monteverdi specialist Hendrik Schulze. The result is an edition which combines the latest in musicological research specifically with the needs of the performer in mind. This has led, for instance, to a divergent evaluation of the “Lauda Jerusalem” oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books. These new musical and performance practice insights make a modern interpretation of this 400-year-old work possible. Full score & performance material available for sale./ Répertoire / 2 Solo Sopranos/3 Solo Ténors/2 Solo Basses/Orches

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Par ASCH GLENN / REINER DAVID. For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works inpractice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists. / Niveau : Intermédiaire à Avancé / Jazz / Recueil / Violon

In spite of the most enthusiastic reception at the work's premiere, the famous pianist and conductor Hans von Bülow criticized Verdi's Messa da Requiem as 'an opera in ecclesiastical robes?. Nonetheless, or maybe precisely for this quality, the work has conquered concert podiums worldwide.For this scholarly-critical edition, the editor has consulted no less than 16 sources, many more than were ever used for any other edition of the Requiem - some of these sources were never evaluated before and one source, a hand-written vocal score, particularly relevant to the evaluation of the 'Liber scriptus?, was newly discovered.As such, this edition offers new philological and editorial decisions regarding phrasing, articulation and dynamics and succeeds in presenting practical suggestions to solve musical problems and those concerning the interpretation of this famous work.This edition comprises a concise Critical Commentary in the score. The most important editions published in the 19th century are compared with regard to musicological questions in the work. The genesis of some misunderstandings included in the 1913 and 1964 Ricordi editions is traced. The first version of the 'Liber scriptus? for chorus is included in the appendix while the later version for mezzosoprano solo is to be found in the main part of the edition.- Verdi's monumental work in a Bärenreiter Urtext edition- Trilingual preface (Ital/Eng/Ger)- Critical Commentary (Eng) in the score- Idiomatic well-presented piano reduction / Violon II