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Carl Engel Carl Engel

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Musik Fur Kinder 4 (ORFF CARL)
34.50

Musik Fur Kinder 4 (ORFF CARL)
Voix, Flûte à Bec et Percussion
Schott

Par ORFF CARL. Orff-Schulwerk has been translated and adapted for use in many co...(+)

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Lasst Euer Lob Erklingen
23.60

Lasst Euer Lob Erklingen
Chorale 3 parties
SSA, Piano
Schott

Nach den erfolgreichen Liederbüchern Farbenfroh Band 1 und Band 2 legt Klaus He...(+)

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Amazing Grace
2 Violons, Violoncelle Et Orchestre A Cordes
Carl Fischer

À partir d'un simple réglage solo du premier couplet, Dana Mengel a façonné ...(+)

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Violoncellokonz. B-Dur Wq 171 (BACH CARL PHILIPP EMMANUEL)
20.50

Violoncellokonz. B-Dur Wq 171 (BACH CARL PHILIPP EMMANUEL)
Alto, Piano [Partition]
Breitkopf & Härtel

Par BACH CARL PHILIPP EMMANUEL. Editeur(s) d'origine: Klengel, Paul/ Répertoire...(+)

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Les grands chefs d'orchestre du xx siecle (MERLIN CHRISTIAN)
25.00

Les grands chefs d'orchestre du xx siecle (MERLIN CHRISTIAN)

En Français [Livre]
Buchet Chastel

Par MERLIN CHRISTIAN. D'Arturo Toscanini à Simon Rattle, Christian Merlin cam...(+)

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Ars Musica Vol. 3 - Voix Egales
20.60

Ars Musica Vol. 3 - Voix Egales
Moseler Verlag

Edition de Gottfried Wolters
Feier/Musik: Wohlauf, wir heben mit Singen an ...(+)

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Kein schöner Lied
17.40

Kein schöner Lied
Chorale 3 parties
SAB, Piano [Partition]
Peters

German folksongs in new and old arrangements for three-part choir (Soprano, Alto...(+)

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Flauto E Voce Iv - Voix, Flute A Bec - Conducteur
24.80

Flauto E Voce Iv - Voix, Flute A Bec - Conducteur

Contenu : Johann Sebastian Bach: Die Engel, welche sich zuvor ...(+)

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LANGER M. - SAITENWEGE FUR 2 GITARREN VOL.2 - 2 GUITARE
31.40

LANGER M. - SAITENWEGE FUR 2 GITARREN VOL.2 - 2 GUITARE
2 Guitares (duo)
Edition Dux Verlag

RENAISSANCEGreensleeves AnonymLe Rossignol AnonymCome Again John DowlandLesson F...(+)

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Sonata For Violoncello And Piano F Major Op. 99
18.90

Sonata For Violoncello And Piano F Major Op. 99
Violoncelle, Piano
Barenreiter

Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. T...(+)

Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

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Sonata For Violoncello And Piano E Minor Op. 38
20.80

Sonata For Violoncello And Piano E Minor Op. 38
Violoncelle, Piano
Barenreiter

The first three movements of Johannes Brahms' E minor Cello Sonata were composed...(+)

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

20.80 EUR - vendu par LMI-partitions
Délais: En Stock

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