(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.
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
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque an...(+)
Composed by Various.
Arranged by Peter
Lavender. Music Sales
America. Baroque and
Classical Period. Fake
book (softcover). With
melody line (no
accompaniment included)
and chord names. 128
pages. Music Sales
#AM92350. Published by
Music Sales
Book/Online Audio and Video Piano The Best Step-by-Step Guide to Start Playing...(+)
Book/Online Audio and
Video
Piano
The Best Step-by-Step
Guide to
Start Playing. Do It
Yourself.
Instruction, Method.
Softcover
Media Online. 128 pages.
Published by Hal Leonard
Revised Edition for Piano Solo with Fingering by 18 Pianists. Composed by Fr...(+)
Revised Edition for Piano
Solo with Fingering by 18
Pianists. Composed by
Franz
Joseph Haydn (1732-1809).
Edited by Georg Feder.
Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1338.
Published by G. Henle
Composed by Camille Saint- Saens (1835-1921). Edited by Fabien Guilloux and Fra...(+)
Composed by Camille
Saint-
Saens (1835-1921). Edited
by
Fabien Guilloux and
François
de Médicis. This
edition:
Edition of selected
works,
Urtext edition. Linen.
Saint-
Saens, Camille. OEuvres
instrumentales completes
III/4. Edition of
selected
works, Performance score,
anthology. Baerenreiter
Verlag
#BA10304-01. Published by
Baerenreiter Verlag
The Complete Resource for Every Guitar Player!. By Various. Guitar Collection. S...(+)
The Complete Resource for
Every Guitar Player!. By
Various. Guitar
Collection. Softcover.
With notes and tablature.
240 pages. Published by
Hal Leonard.
Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 ...(+)
Edited by Amy Appleby.
Collection and examples
CD for easy solo piano.
Over 200 great
masterpieces from the
baroque, classical,
romantic and modern eras.
Series: Piano Treasury
Series. 399 pages.
Published by Music Sales.
Revised Edition with Fingering by 26 Pianists. Composed by Franz Joseph Ha...(+)
Revised Edition with
Fingering by 26 Pianists.
Composed by Franz Joseph
Haydn (1732-1809). Edited
by
Georg Feder. Henle Music
Folios. Classical.
Softcover.
G. Henle #HN1336.
Published
by G. Henle
2 violins, 2 violas, 2 celli - Level 6 SKU: KU.GM-1911 Composed by David ...(+)
2 violins, 2 violas, 2
celli - Level 6
SKU:
KU.GM-1911
Composed
by David Philip Hefti.
Edited by David Philip
Hefti. Bach format (230 x
302). In A Folder. Full
score, parts. 78 pages.
Duration 19 minutes.
Edition Kunzelmann
#GM-1911. Published by
Edition Kunzelmann
(KU.GM-1911).
ISBN
9790206202384. 9 x 12
inches.
Monu
mentum, Music for
String Sextet, was
written in 2014 to a
commission from the
Moritzburg Festival, The
Chamber Music Society of
Lincoln Center New York
and the Kathe Kollwitz
House in Moritzburg. It
is dedicated to the
cellist Jan Vogler. The
world premiere took place
on 19 August 2014 at the
Moritzburg Festival,
performed by Timothy
Chooi & Mira Wang
(violins), Roberto Diaz
& Hartmut Rohde
(violas), Jan Vogler
& Harriet Krijgh
(cellos). The American
premiere took place on 7
May 2015 in the Lincoln
Center with the Amphion
String Quartet, the
violist Yura Lee and the
cellist Jan
Vogler.
The
String
Sextet Momentum<
/em> commemorates
the outbreak of the First
World War, the death of
Peter Kollwitz –
who died as a volunteer,
aged just 18, in the
early weeks of the war
– and the manner in
which his mother, the
artist Kathe Kollwitz,
mourned the loss of her
son. The artist worked
through her pain by
creating her most famous
sculpture, The
Mourning Parents. It
stands today at the
German soldiers’
cemetery at Vladslo in
western Flanders, where
her son Peter also lies
buried. During the 18
years that she worked on
the Parents
, Kathe Kollwitz attended
several concerts at the
Volksbuhne in Berlin,
where from January to
February 1927 she heard
Arthur Schnabel’s
cycle of all the
Beethoven piano sonatas.
Schnabel performed the
Sonata op. 111 in c minor
on 26 February 1927, and
this work touched her in
particular, as we can
read in her diary:
“The strange
flickering notes turned
into flames – a
moment of rapture, taking
one into a different
sphere, and the heavens
opened almost as in the
Ninth (Symphony). Then
one found one’s way
back – but it was a
return after having been
assured that there is a
heaven. These notes are
serene – confident
– and good. Thank
you, Schnabel!”
This encounter with
Beethoven’s last
sonata inspired the
artist to take up work
again on her sculpture
after a long interruption
and to consider different
possibilities for
arranging the two
figures. For this reason,
the first minutes
ofMomentum
are derived from this
sonata by Beethoven
– though without it
being quoted in an
audible manner –
and they leave their mark
on the form of the
Sextet. The number 18 and
the date of Peter
Kollwitz’s death
(23 October 1914) also
have a direct impact on
the work’s
dramaturgy. This music is
mostly calm in nature,
but is time and again
interrupted unexpectedly,
being disturbed by unruly
sounds and vehement
eruptions until time
itself seems to dissolve
in an aleatoric passage.
The work ends with an
extended lament on
“seed corn should
not be ground”, a
line from
Goethe’s W
ilhelm Meister’s
Journeyman Years.
Kathe Kollwitz often
quoted this phrase to
argue for peace, and also
took it as the title for
a lithograph that she
made in 1942. -
David Philip
Hefti
by Mel Bay. For all guitars. Modern Guitar Method. All styles, solos & duets. Le...(+)
by Mel Bay. For all
guitars. Modern Guitar
Method. All styles, solos
& duets. Level: Multiple
Levels. Book. Method.
Size 8.75x11.75. 320
pages. Published by Mel
Bay Pub., Inc.
Piano seul [Partition] - Intermédiaire/avancé Alfred Publishing
By Domenico Scarlatti (1685-1757). Edited by Maurice Hinson. For Piano. Piano Co...(+)
By Domenico Scarlatti
(1685-1757). Edited by
Maurice Hinson. For
Piano. Piano Collection.
Alfred Masterwork
Edition. Masterwork.
Intermediate / Early
Advanced (grade 4/5/6/6
). Book. 64 pages.
Published by Alfred Music
Publishing
For Oboe. Classical (chamber). Includes a high-quality printed music score and a...(+)
For Oboe. Classical
(chamber). Includes a
high-quality printed
music score and a compact
disc containing a
complete performance with
soloist; then a second
version with the
accompaniment, minus the
soloist. Published by
Music Minus One.
(from Essercizii Musici) Composed by Georg Philipp Telemann (1681-1767), edited ...(+)
(from Essercizii Musici)
Composed by Georg Philipp
Telemann (1681-1767),
edited by Waldemar Woehl.
Set of performance parts
for recorder (in C or in
F), oboe (or Violin or
Viola de gamba), piano
accompaniment and cello
(optional; ad lib basso
continuo). Urtext
edition. With standard
notation, introductory
text and piano
accompaniment. Text
language English, German
and French. 29 pages.
Published by C.F. Peters.
21 pieces plus exercises for Trinity College London exams 2021-2023. Composed ...(+)
21 pieces plus exercises
for
Trinity College London
exams
2021-2023. Composed by
Various. Classical.
Textbook.
Trinity College London
#TCL020574. Published by
Trinity College London