| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| The Most Incredible Thing Chorale 3 parties 3 parties aigues Boosey and Hawkes
By Stephen Hatfield. (3 Part Treble). Opera Workshop. 72 pages. Published by Bo...(+)
By Stephen Hatfield. (3
Part Treble). Opera
Workshop. 72 pages.
Published by Boosey and
Hawkes.
$5.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Most Incredible Thing Chorale Boosey and Hawkes
| | |
| Best Movie Themes Piano, Voix et Guitare Alfred Publishing
45 Timeless Themes from Your Favorite Films (Piano/Vocal). Composed by va...(+)
45 Timeless Themes
from Your Favorite Films
(Piano/Vocal).
Composed by various
composers and arrangers.
This edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords. Best
Songs. Movie. 192 pages.
Published by Alfred Music
(AP.44682).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band SKU:
PR.465000130 For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130). ISBN
9781598064070. UPC:
680160600144. 9x12
inches. Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU:
PR.46500013L For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L). UPC:
680160600151. 11 x 14
inches. I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A View from the Rear GIA Publications
SKU: GI.G-10597 Memoirs of a Virtuoso Timpanist in the Orchestra's Gol...(+)
SKU: GI.G-10597
Memoirs of a Virtuoso
Timpanist in the
Orchestra's Golden
Age. Composed by Saul
Goodman. Music Education.
134 pages. GIA
Publications #10597.
Published by GIA
Publications
(GI.G-10597). ISBN
9781574635409. At
19 years old, Saul
Goodman became timpanist
with the New York
Philharmonic Orchestra
under renowned conductor
Arturo Toscanini.
Forty-six years later, he
retired as one of the
most celebrated
orchestral musicians of
all time. During his
illustrious career as
composer, inventor, and
timpanist, he performed
on over 1,000 recordings,
placed his students in
the world’s major
symphony orchestras, and
set standards in
percussion performance
and pedagogy that remain
in place to this day. His
memoirs, and those of his
students, trace his
musical development and
take the reader on a
voyage of his unique
experiences during the
greatest era of the
American symphony
orchestras. His
incredible legacy as a
performer and a teacher
is unrivaled in the
history of percussion,
and perhaps any other
instrument as well. The
list of his students
reads like a
‘who’s
who’ of our world.
—Daniel Druckman,
New York Philharmonic He
was one of the greatest
artists of all times. He
was an inspiration to me,
not only as a student,
but throughout my
professional career.
—Vic Firth, Boston
Symphony Orchestra Saul
often said that his
teachers were Toscanini,
Monteux, Reiner,
Stokowski, and Bruno
Walter. He was the
greatest player in the
era of stars throughout
the symphonic world. The
sheer numbers of
concerts, recordings, and
TV that he played is
staggering.
—Morris Lang, New
York Philharmonic Saul
Goodman was a brilliant
orchestral musician who
just happened to play the
timpani. His style,
musicianship and strong
personality were a
tremendous influence on
those with whom he
worked. —James
Rago, Louisville
Orchestra Review from
Percussive Notes Magazine
This treasure of a book
tells the story from the
man himself: Saul
Goodman, one of the most
celebrated orchestral
musicians, timpanists,
and percussion teachers
to ever live. Through a
combination of
Goodman’s own
writing, as well as
contributions from a
variety of others who
knew, studied, and worked
with him, this 106-page
book is informative for
students and enjoyable
for general music
enthusiasts. The book is
constructed in two parts
— the first being
a previously unpublished
memoir written by Goodman
during his lifetime (he
died in 1996) and edited
by Anthony Cirone, and
the second consisting of
reflections from students
and colleagues, an
interview with Goodman
conducted by Rick
Mattingly in 1981, a
Percussive Notes article
published shortly after
this death, and an
overview of his recording
history. The book also
contains several pages of
pictures from throughout
his career. The first
part, written by Goodman,
contains five chapters:
Beginnings, Carnegie
Hall, The Business of
Modern Orchestra,
Toscanini, and On
Recording. While he
discusses many
percussion-specific
things, such as lessons
with Alfred Friese,
Goodman spends just as
much, if not more, time
talking about the general
orchestral culture of the
time and how it evolved
during his 46 years in
the New York
Philharmonic. This
includes reflections on
conductors, management,
recording, and the
audition process. The
second part proves just
as valuable, with
first-hand stories from
those who knew him. These
range from
acknowledgments of
Goodman’s
excellence in performing
and instruments making to
heartfelt and sometimes
humorous anecdotes
relating to his teaching.
This book will
undoubtedly be
appreciated by all
orchestral percussion and
classical music
performers, students,
conductors, and teachers,
as well as the general
concert-going public. It
is a rare first-hand look
into the life and career
of a world-class artist
and teacher. —
Jason Baker Percussive
Notes, February 2022. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Violoncello Sonatas Violoncelle, Piano Breitkopf & Härtel
Cello and piano SKU: BR.EB-32083 Urtext. Composed by Camillo Schum...(+)
Cello and piano SKU:
BR.EB-32083
Urtext. Composed
by Camillo Schumann.
Edited by Maria Kliegel.
Solo instruments;
stapled. Edition
Breitkopf. With
supplementary violoncello
part marked by Maria
Kliegel Sonata;
Late-romantic. Score. 108
pages. Breitkopf and
Haertel #EB 32083.
Published by Breitkopf
and Haertel
(BR.EB-32083). ISBN
9790004186299. 9 x 12
inches. There are
many composers about whom
it is believed, today,
that they composed
conservatively, or
against the taste of
their time. The question
is also raised, today,
which extract of this
large amount of effective
and high-quality music,
unknown for the most
part, should receive our
attention; which of it is
worth rediscovering or
re-editing. Camillo
Schumann is one of the
most important
representatives of these
composers, but his works
are still largely unknown
today. He was born on 10
March 1872 in Konigstein,
Saxony. His musical
language combines the
sound world of Brahms
with the grand,
late-romantic Liszt
School. He wrote piano
parts of incredible power
and virtuosity,
approaching the sounds of
Rachmaninoff. His
wonderfully individual
melodic language makes
these works a valuable
testimony to a composer
who never had his due
recognition. The cello
sonatas Opp. 59 (EB
32082) and 99 (EB 32083)
are the first of three
works for this
combination. Op. 59 was
composed around 1905/06,
Op. 99 followed in 1932.
Nothing is known so far
of the circumstances of
the composition of this
work, including for whom
it was composed. However,
it is quite evident that
Schumann wrote it, like
most of his works,
primarily for his own
concerts and befriended
musicians. The extensive
entries in the piano part
bear witness to a
considerably practical
approach. Crossed-out
bars, notes added or
crossed out in chords as
well as a number of
revisions of other kinds
are more the rule than
the exception. The
composer's own fingerings
written in the piano part
also underline this
assumption. The present
edition contains two
solo-parts each. One
clean Urtext-part free of
any additions from the
editor and a second one
with bowing marks and
fingerings by Maria
Kliegel who recorded both
sonatas for the first
time with the label
Naxos. Both sonatas show
evident resemblance to
the works of this
combination by Johannes
Brahms and are therefore
a must have for ambitious
cellists.
With
supplementary violoncello
part marked by Maria
Kliegel. $46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Alfred's Top 50 Songs from the Warner Bros. Film Collection Piano seul - Facile Alfred Publishing
(Nine Decades of Unforgettable Music). Arranged by Dan Coates. For Piano. This e...(+)
(Nine Decades of
Unforgettable Music).
Arranged by Dan Coates.
For Piano. This edition:
Easy Piano. Book; Piano -
Easy Piano Collection;
Piano Supplemental.
Movie; Pop. Easy Piano.
180 pages. Published by
Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Vocal Eze Strawberry Drops (20 Pieces) Hal Leonard
SKU: HL.1254918 Vocal Eze Voice Products. General Merchandise. Hal Leonar...(+)
SKU: HL.1254918
Vocal Eze Voice Products.
General Merchandise. Hal
Leonard #MH7952.
Published by Hal Leonard
(HL.1254918). UPC:
850008838019.
3.75x6.75x1.0
inches. Soothing,
delicious lozenges using
the world's most powerful
honey. When we saw the
incredible demand for
all-natural throat
wellness through the
Vocal Eze Spray, we all
knew that other products
with proven ingredients
could help even more
people. So, in keeping
with the all-natural
philosophy, we added one
of the most healing
substances on the planet
to our throat drops: pure
Manuka honey! Manuka
honey is produced by bees
who pollinate the flower
created by the Mankua
bush, native to New
Zealand. It boosts potent
antiviral,
anti-inflammatory, and
antioxidant benefits that
will keep those vocal
cords feeling like brand
new. Vocal Eze Manuka
Honey Drops: •
Taste like candy! They're
available in three tasty
flavors, including lemon,
strawberry, and aniseed
(black licorice) •
Serves as a natural cough
suppressant •
Rejuvenate dry or sore
throats in a way only
this super-honey can
deliver Toss a few in
your pocket and take them
anywhere to keep your
voice sounding great! $16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Vocal Eze Lemon Drops (20 pieces) Hal Leonard
SKU: HL.1254917 Vocal Eze Voice Products. General Merchandise. Hal Leonar...(+)
SKU: HL.1254917
Vocal Eze Voice Products.
General Merchandise. Hal
Leonard #MH7950.
Published by Hal Leonard
(HL.1254917). UPC:
850008838002.
3.75x1.0x1.0
inches. Soothing,
delicious lozenges using
the world's most powerful
honey. When we saw the
incredible demand for
all-natural throat
wellness through the
Vocal Eze Spray, we all
knew that other products
with proven ingredients
could help even more
people. So, in keeping
with the all-natural
philosophy, we added one
of the most healing
substances on the planet
to our throat drops: pure
Manuka honey! Manuka
honey is produced by bees
who pollinate the flower
created by the Mankua
bush, native to New
Zealand. It boosts potent
antiviral,
anti-inflammatory, and
antioxidant benefits that
will keep those vocal
cords feeling like brand
new. Vocal Eze Manuka
Honey Drops: •
Taste like candy! They're
available in three tasty
flavors, including lemon,
strawberry, and aniseed
(black licorice) •
Serves as a natural cough
suppressant •
Rejuvenate dry or sore
throats in a way only
this super-honey can
deliver Toss a few in
your pocket and take them
anywhere to keep your
voice sounding great! $16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bridal Chorus and Wed March / Flute and Piano Flûte traversière et Piano Santorella Publications
Bridal Chorus and Wedding March for Flute and Piano composed by Mendelssohn and ...(+)
Bridal Chorus and Wedding
March for Flute and Piano
composed by Mendelssohn
and Wagner. Arranged by
Jonathon Robbins. For
flute solo and piano
accompaniment. Solo with
Accompaniment. Classical.
Score and solo part. Text
Language: English. 4
pages. Published by
Santorella Publications
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bridal Chorus and Wed March / Alto Sax and Piano Saxophone Alto et Piano Santorella Publications
Bridal Chorus and Wedding March for Alto Sax and Piano composed by Mendelssohn a...(+)
Bridal Chorus and Wedding
March for Alto Sax and
Piano composed by
Mendelssohn and Wagner.
Arranged by Jonathon
Robbins. For alto sax
solo and piano
accompaniment. Solo with
Accompaniment. Classical.
Score and solo part. Text
Language: English. 4
pages. Published by
Santorella Publications
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bridal Chorus and Wed March / Trumpet and Piano Trompette Santorella Publications
Bridal Chorus and Wedding March for Trumpet and Piano composed by Mendelssohn an...(+)
Bridal Chorus and Wedding
March for Trumpet and
Piano composed by
Mendelssohn and Wagner.
Arranged by Jonathon
Robbins. For trumpet solo
and piano accompaniment.
Solo with Accompaniment.
Classical. Score and solo
part. Text Language:
English. 4 pages.
Published by Santorella
Publications
$7.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Libi B'mizrach Volume 2 Instruments en Do [Partition + Accès audio] Transcontinental Music
Music of Progressive Israeli T'filah Book with Audio Demos. Transcontinental M...(+)
Music of Progressive
Israeli
T'filah Book with Audio
Demos. Transcontinental
Music
Folios. Jewish. Softcover
Audio Online. 76 pages.
Transcontinental Music
Publications #994035.
Published by
Transcontinental
Music Publications
$34.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Libi B'Mizrach - Volume 1 [Partition + Accès audio] Transcontinental Music
Book/Online Audio Melody/Lyrics/Chords; Piano/Vocal SKU: HL.277064 Mus...(+)
Book/Online Audio
Melody/Lyrics/Chords;
Piano/Vocal SKU:
HL.277064 Music of
Progressive Israeli
T'Filah. Edited by
Joel Eglash.
Transcontinental Music
Folios. Jewish. Softcover
Audio Online. 40 pages.
Transcontinental Music
#994017. Published by
Transcontinental Music
(HL.277064). ISBN
9780997643077. UPC:
888680749521.
8.5x11.0x0.14
inches. This
collection features the
incredible liturgical
music of Israel's
progressive minyanim,
communities, songwriters,
and composers. To Western
ears, Jewish liturgy,
prayers, blessings, and
piyutim (liturgical
poems) are most purely
expressed through the
tongue of a native Hebrew
speaker. These original
Israeli melodies come
straight from the source,
with nothing lost in
translation. Until now,
many of these songs were
inaccessible or
unavailable to those for
whom Hebrew is a
supplementary language.
Now, these beautiful,
engaging melodies are
presented in concise,
practical lead sheet
format. A download card
containing a unique code
is included in the book,
allowing you to download
the original artists'
recordings! $31.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Double bass (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5302-27(+)
Double bass (solo: vl -
2.2.2.2 - 2.2.0.0 - timp
- str) SKU:
BR.OB-5302-27
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Part. 8 pages. Duration
32'. Breitkopf and
Haertel #OB 5302-27.
Published by Breitkopf
and Haertel
(BR.OB-5302-27). ISBN
9790004340059. 10 x 12.5
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Viola (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5302-19 U...(+)
Viola (solo: vl - 2.2.2.2
- 2.2.0.0 - timp - str)
SKU: BR.OB-5302-19
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Part. 12 pages. Duration
32'. Breitkopf and
Haertel #OB 5302-19.
Published by Breitkopf
and Haertel
(BR.OB-5302-19). ISBN
9790004340035. 10 x 12.5
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Woodwinds (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5302-30 ...(+)
Woodwinds (solo: vl -
2.2.2.2 - 2.2.0.0 - timp
- str) SKU:
BR.OB-5302-30
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Folder.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Set of parts. 64 pages.
Duration 32'. Breitkopf
and Haertel #OB 5302-30.
Published by Breitkopf
and Haertel
(BR.OB-5302-30). ISBN
9790004340066. 10 x 12.5
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $80.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Violoncello (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5302-23(+)
Violoncello (solo: vl -
2.2.2.2 - 2.2.0.0 - timp
- str) SKU:
BR.OB-5302-23
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Part. 14 pages. Duration
32'. Breitkopf and
Haertel #OB 5302-23.
Published by Breitkopf
and Haertel
(BR.OB-5302-23). ISBN
9790004340042. 10 x 12.5
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Violin 2 (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.OB-5302-16 <...(+)
Violin 2 (solo: vl -
2.2.2.2 - 2.2.0.0 - timp
- str) SKU:
BR.OB-5302-16
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Schumann's last work for
solo instrument and
orchestra was not given
its premiere until 1937.
This new edition is the
first meticulously
prepared Urtext edition
of the score and the
composer's own piano
reduction - from which
Clara played the piece!
Solo concerto; Romantic.
Part. 12 pages. Duration
32'. Breitkopf and
Haertel #OB 5302-16.
Published by Breitkopf
and Haertel
(BR.OB-5302-16). ISBN
9790004340028. 10 x 12.5
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in D minor WoO 1 Breitkopf & Härtel
Violin and orchestra (solo: vl - 2.2.2.2 - 2.2.0.0 - timp - str) SKU: BR.PB-5...(+)
Violin and orchestra
(solo: vl - 2.2.2.2 -
2.2.0.0 - timp - str)
SKU: BR.PB-5317
Urtext. Composed
by Robert Schumann.
Edited by Christian
Rudolf Riedel. Orchestra;
stapled.
Partitur-Bibliothek
(Score Library). Solo
concerto; Romantic. Study
Score. Duration 32'.
Breitkopf and Haertel #PB
5317. Published by
Breitkopf and Haertel
(BR.PB-5317). ISBN
9790004212356. 6.5 x 9
inches. Between
Beethoven and Brahms, a
long neglected
workSchumann's last work
for solo instrument and
orchestra was not given
its premiere until 1937,
at which time it was also
released in an
editorially inadequate
version. A re-evaluation
of Schumann's late oeuvre
began in the 1980s, in
the wake of which the
missing link between the
concertos of Beethoven
and Brahms (Yehudi
Menuhin) also drew
increasing attention.
Since then, those in the
know have come to
appreciate the work,
whose unique musical and
technical demands
challenge for both
interpreter and
listener.This new edition
of what is perhaps the
most underestimated
masterpiece of the
Romantic era is the first
meticulously prepared
Urtext edition of the
score. Nothing short of
incredible is the fact
that the composer's own
piano reduction from
which Clara Schumann and
Joseph Joachim played the
piece is being published
here for the first time!
Thomas Zehetmair, who has
significantly contributed
to the re-assessment of
the concerto, assumed the
task of providing a sound
technical basis to his
revision of the solo
part.Perhaps this edition
will help stimulate
awareness and
appreciation of this
unjustly forgotten
romantic violin concerto
described by Menuhin as
the missing link between
the concertos by
Beethoven to Brahms.
(John Thomson,
Stringendo)
Schuma
nn's last work for solo
instrument and orchestra
was not given its
premiere until 1937. This
new edition is the first
meticulously prepared
Urtext edition of the
score and the composer's
own piano reduction -
from which Clara played
the piece! $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Mold Me, Make Me Chorale SATB Gentry Publications
Choral (SATB) SKU: HL.1428117 Composed by Natalie Ragins. Gentry Publicat...(+)
Choral (SATB) SKU:
HL.1428117 Composed
by Natalie Ragins. Gentry
Publications. Octavo. 12
pages. Gentry
Publications #JG2713.
Published by Gentry
Publications
(HL.1428117). UPC:
196288202233.
6.75x10.5x0.029
inches. Discover
the incredible musical
prowess of Natalie
Ragins, one of the most
talented gospel and RandB
keyboardists globally,
with her composition
“Make Me, Mold Me.”
This sensational piece,
tailored for SATB voices
accompanied by piano,
bass, and guitar, is a
breathtaking addition to
the Rock My Soul Choral
Series, curated by
Brandon Waddles and
Brandon Boyd. Ragins'
composition is nothing
short of mind-blowing, a
fusion of gospel and
RandB that will captivate
both performers and
audiences alike. With its
irresistible charm and
powerful musicality,
what's not to love about
this exceptional
piece? $3.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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