Elementary duets: Dances and other pieces in various keys. By Egon Sassmannshaus...(+)
Elementary duets: Dances
and other pieces in
various keys. By Egon
Sassmannshaus; Kurt
Sassmannshaus. American
English translation: Kurt
Sassmannshaus;
Illustrations: Charlotte
Panowsky. For Violin.
Take advantage of our
exclusive introductory
offer now and save 25%
off the regular price -
this special price is
available for a limited
time only. Baerenreiter's
Sassmannshaus. Original
German title: Fruher
Anfang auf der Geige -
Band 3; Fruhes Duospiel -
Tanze und Spielstucke in
verschiedenen Tonarten.
Instructional Method.
Method book. Text
language: English. 71
pages. Published by
Baerenreiter Verlag
(German import).
Composed by
Various. String Duet.
Classical. Softcover. 64
pages. Published by Hal
Leonard (HL.348319).
ISBN 9781540097354.
UPC: 840126930016.
9.0x12.0x0.201
inches.
Classical
Themes for Violin Duet is
designed for violinists
familar with first
position and comfortable
reading basic rhythms. In
each two-page
arrangement, violin 1 and
violin 2 take a turn
playing the melody for a
fun and challenging
ensemble experience. It
includes 30 well-loved
melodies by J.S. Bach,
Beethoven, Debussy,
Gershwin, Grieg, Liszt,
Mussorgsky, Tchaikovsky,
Vivaldi, Wagner, and
more.
For Alto Saxophine in Eb. Composed by Johann Sebastian Bach (1685-1750), Muzio C...(+)
For Alto Saxophine in Eb.
Composed by Johann
Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907). SWS.
Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF106. Published
by Carl Fischer Music
For Two Violins, Op. 85. Composed by Jacques Fereol Mazas (1782-1849). This edit...(+)
For Two Violins, Op. 85.
Composed by Jacques
Fereol Mazas (1782-1849).
This edition: Complete -
Books 1-3. Carl Fischer
Music Library. Classical.
Set of parts. With
Standard notation. Opus
85. 80 pages. Carl
Fischer #L001072.
Published by Carl Fischer
Fantasia on the Rondo
from the Piano Sonata in
A major K. 331 by.
Composed by Fazil Say.
Edited by Selin
Sekeranber and Yudum
Centiner. Piano Duet.
Classical. Softcover. 16
pages. Duration 90
seconds. Schott Music
#ED23613. Published by
Schott Music
(HL.49047113).
ISBN
9781705189269. UPC:
842819117520. 0.096
inches.
The final
movement of the Sonata in
A major K. 331 by
Wolfgang Amadeus Mozart,
the Rondo Alla Turca, is
one of the most famous
pianopieces of all. Once
reserved for all music
connoisseurs, later
played by every piano
student, its opening
melody, alienated like a
sine tone, is now
omnipresent even as a
mobile phone ringtone.
The arrangement by Fazil
Say, created as an
effective encore, builds
on this popularity.
Mounted on the still
recognizable classic
basic level, typical jazz
elements such as
syncopation of the top
tones and embellishment
with chromatic blue
notes, embedded in
sometimes frenzied chains
of sixteenth notes, are
found - after the first
eight bars have been
presented originally. In
accordance with the
improvisational
character, Say himself
likes to perform his Alla
Turca Jazz in other
combinations, for example
with the accompaniment of
jazz singers or with an
orchestra. Perhaps it is
surprising that Fazil
Say, who was born in
Turkey and lives there
when not on tour, does
not trace Mozart's
adaptation of genuinely
Turkish music closer to
its origins, since many
of his compositions such
as Black Earth or the
Violin Sonata are
characterized by a subtle
touch Combination of
classic-romantic
tradition, Turkish folk
music and jazz elements.
In another Mozart
arrangement, the ballet
music Patara, which
premiered in Vienna in
2006, but now composed on
the rococo-esque (and
almost equally popular)
theme from the first
movement of the same A
major sonata, Say still
has the connection denied
to the Alla Turca, albeit
inthe opposite direction.
In distinctive chamber
music instrumentation,
the piano stands for
Western culture, the ney
flute for that of the
Orient, atmospherically
conveyed by sparse
percussion and vocalises
by a soprano.
Arranged by Denes Agay. Book. Published by Music Sales. These familiar melodies...(+)
Arranged by Denes Agay.
Book. Published by Music
Sales. These familiar
melodies for one piano,
four hands are in
arrangements equally easy
for both players, with
the melody alternating
between the two. The
collection includes
Careless Love, Jamaica
Farewell, and many more
favorites.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Piano - easy SKU: HL.49045386 50 Popular Classics in Easy Arrangements...(+)
Piano - easy
SKU:
HL.49045386
50
Popular Classics in Easy
Arrangements.
Composed by Various.
Arranged by Barrie Carson
Turner. This edition:
Saddle stitching. Sheet
music. Piano. Diese neue
Sammlung prasentiert die
50 beliebtesten
klassischen Stucke in
leichten Bearbeitungen
fur Klavier. Classical.
Softcover. 88 pages.
Schott Music #ED13860.
Published by Schott Music
(HL.49045386).
ISBN
9781847614193. UPC:
888680671457.
9.0x12.0x0.25 inches.
English.
The 50
most popular classical
pieces in easy
arrangements. This new
collection presents 50
popular classical pieces
in easy arrangements for
piano. Taking the concept
of the 'playlist' from
the world of digital
music streaming this book
presents a carefully
chosen collection of the
world's favorite
classical pieces for
today's student and
amateur musicians.
Featuring many of the
most popular works from
the classical repertoire,
this offers hours of
enjoyable music making.
Contents: Adagietto, from
Symphony No. 5 (Mahler)
• Air, BWV 1068
(Bach) • Piano
Concerto No. 23, Andante
(Mozart) • The Blue
Danube (J Strauss II)
• Canon (Pachelbel)
• Clair de Lune
(Debussy) • Chanson
de Matin (Elgar) •
Chorus of the Hebrew
Slaves (Verdi) •
The Dance of the Little
Swans (Tchaikovsky)
• Dance of the
Blessed Spirits (Gluck)
• Danse Macabre
(Saint-Saens) • The
Pearl Fishers' Duet
(Bizet) • Emperor
Concerto, 2nd mvt.
(Beethoven) •
Flower Duet (Delibes)
• Gavotte (Grieg)
• Gymnopedie No. 1
(Satie) • Habanera
(Bizet) • Halleluja
Chorus (Handel) •
Hornpipe, Water Music
(Handel) •
Impromptu, Op. 90, No. 3
(Schubert) •
Intermezzo (Mascagni)
• Jerusalem (Parry)
• Jupiter (Holst)
• Intermezzo
(Sibelius) •
Liebestraume No. 3
(Liszt) • Menuet
(Ravel) • Menuetto,
Symphony No. 104 (Haydn)
• Meditation
(Massenet) •
Morning (Grieg) •
Ode to Joy (Beethoven)
• Nessun Dorma
(Puccini) • Nimrod
(Elgar) • Nocturne,
Op. 9, No. 2 (Chopin)
• Non piu andrai
(Mozart) • O Mio
Babbino Caro (Puccini)
• Dance of the
Sugar Plum Fairy
(Tchaikovsky) •
Prelude to the Afternoon
of a Faun (Debussy)
• Ride of the
Valkyries (Wagner)
• Spring, from the
Four Seasons (Vivaldi)
• Symphony No. 1,
4th mvt. (Brahms) •
The Old Castle
(Mussorgsky) • The
Swan (Saint-Saens)
• The Trout
(Schubert) •
Traumerei (Schumann)
• Toreador Song
(Bizet) • Violin
Concerto, Andante
(Mendelssohn) •
Vltava (Smetana) •
Waltz from Coppelia
(Delibes) • When I
Am Laid in Earth
(Purcell) • Waltz
in A-flat, Op. 39, No. 15
(Brahms).
Music for Two Violins, Volume 1 2 Violons (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Florence Titmus. Arranged by Daniel Kelley. For Violin Duet. Duets. Mu...(+)
Edited by Florence
Titmus. Arranged by
Daniel Kelley. For Violin
Duet. Duets. Music for
Two. Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Music for Two Violins, Volume 2 2 Violons (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Florence Titmus. Arranged by Daniel Kelley. For Violin Duet. Duets. Mu...(+)
Edited by Florence
Titmus. Arranged by
Daniel Kelley. For Violin
Duet. Duets. Music for
Two. Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
Composed by Georg Philipp Telemann (1681-1767), edited by Gunter Hausswald. Flut...(+)
Composed by Georg Philipp
Telemann (1681-1767),
edited by Gunter
Hausswald. Flute/violin
duet book for two flutes
(or two violins). Urtext
of the Telemann Edition.
With duet notation. 16
pages. Published by
Baerenreiter-Ausgaben
(German import). ISBN
M006428335.
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
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.
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 2. Published by Last
Resort Music Publishing.
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.
2 violins - easy to intermediate SKU: HL.49005373 Edited by Paul Bormann....(+)
2 violins - easy to
intermediate
SKU:
HL.49005373
Edited by
Paul Bormann. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
36 pages. Schott Music
#ED5052. Published by
Schott Music
(HL.49005373).
Beautiful Music For Two String Instruments, Volume I (2 Violins). Edited by Thom...(+)
Beautiful Music For Two
String Instruments,
Volume I (2 Violins).
Edited by Thom Proctor.
For 2 string instruments.
Duet or Duo; String
Orchestra
Method/Supplement. String
method/supplement
(Violin). Classical.
Difficulty: easy-medium
to medium. Collection.
Chord names. 36 pages.
Published by Alfred Music
Publishing
Violin Duet SKU: HL.49000000 2 Violins and Basso Continuo. Compose...(+)
Violin Duet
SKU:
HL.49000000
2
Violins and Basso
Continuo. Composed by
Tomaso Giovanni Albinoni.
Edited by Walter
Kolneder. This edition:
Saddle stitching. Sheet
music. Antiqua (Chamber
Music). Classical. Op.
1/10-12. 39 pages. Schott
Music #ANT 1. Published
by Schott Music
(HL.49000000).
ISBN
9790001001007. UPC:
073999284348.
9.0x12.0x0.181
inches.
Arrangements of syllabus repertoire for lessons, practice and performance. Co...(+)
Arrangements of syllabus
repertoire for lessons,
practice and performance.
Composed by Richard
Mainwaring. Classical.
Score
and Parts. Trinity
College
London #TCL020345.
Published
by Trinity College London
Composed by Christian Ernst Graaf. Edited by Christopher Hogwood. For Duet for o...(+)
Composed by Christian
Ernst Graaf. Edited by
Christopher Hogwood. For
Duet for one violin.
Facsimile and playing
score. 4(xii) pages.
Published by Edition HH
Music Publishers
Composed by Ignaz Josef Pleyel (1757-1831). Edited by Norbert Gertsch. Henle...(+)
Composed by Ignaz Josef
Pleyel (1757-1831).
Edited
by Norbert Gertsch. Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1390.
Published by G. Henle
Composed by Johann Stamitz (1717-1757). Edited by Alessandro Bares. Paperback. I...(+)
Composed by Johann
Stamitz (1717-1757).
Edited by Alessandro
Bares. Paperback. I
piaceri del violino.
Classical. Published by
Musedita Edizioni
Musicali (M8.ST-1-02).