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

Roberts Timothy (Ed). Par ROBERTS TIMOTHY. Edited by Timothy Roberts High voice, bass and basso continuo CONTENTS Tho' my mistress be fair (Purcell) (D - A) and (F - D) How sweet, how lovely (Eccles) (F - A flat) and (B flat - D) In some kind dream (Purcell) (D - G) and (D (E) - D) Go, perjured maid (Blow) (C - A) and (A - F) Lucifer’s fall (Blow) (A - A) and (D (E) - E) Upon a quiet conscience (Purcell) (C - A flat) and (F - E flat)/ Recueil / Voix AigüeS Basse et Basse Continue

The Piano Bench Of Classical Music is designed to be the cornerstone of your personal music library. This tremendous piano collection contains 400 pages of great music literature, specially selected and edited for the pianist who loves classical music. No other single volume can provide the wealth of exquisite piano selections contained within these pages. Here you will find the world's greatest inventions, movements, nocturnes, valses, mazurkas, intermezzos, romantic short pieces, impressionist works, and light classics - as well as the most rewarding traditional arrangements of themes from the great symphonies, chamber works, operas and ballets by the master composers of the past four centuries. / Piano

Edited By Forrai Miklós. 'Josquin des Prés, à savoir la forme 1450 le début des cinq siècles de riche musique chorale européenne sur laquelle la modeste collection actuelle a été compilée. La majorité des oeuvres publiées ici sont issues du monde de la Renaissance, l'âge d'or de la musique chorale. En outre, les chefs-d'oeuvre de la littérature romantique du 19ème siècle jeter dans l'ombre jusqu'ici sont présentés en abondance. C'est la tâche du 'siècle prochain' pour fournir une vue d'ensemble du monde choral culture de notre temps, le 20ème siècle ... 'Miklós Forrai (1994)/ Recueil / Chant

Seventy-Six popular compositions of the masters including themes from concertos and symphonies arranged for solo piano. Suitable for pianists from grade 5 standard. Edited by Hugo Frey. / Niveau : Difficile / Rép Classique / Recueil / Piano

Works by Beethoven, Bizet, Debussy, Dvorak, Faure, Mendelssohn, Schubert, Schumann. Edited by Morey Ritt./ Recueil / Piano 4 Mains

An outgrowth of NBC's 1952 successful tele-documentary Victory at Sea, was Project 20 two years later: a 30-episode series that was scored completely by Robert Russell Bennett. The episode, called 'Down to the Sea in Ships,' utilized this score that initially aired in December of 1968. The magic of the sea, the beauty of ships, and fascination for the men who sail them, are fully explored in this five-movement epic work that relies heavily on sea shanties and folk material. In regarding the work in Bennett's own words, it 'had a lot to tell us about our struggles, triumphs, and defeats on the mighty ocean.' The movements are titled - 'The Way of the Ship,' 'Mists and Mystery,' 'Songs of the Salty Air,' 'Waltz of the Clipper Ships,' and 'Finale, Introducing the S.S. Eagle March.' This fresh, carefully edited concert band transcription has been extensively researched and will be a cherished addition to serious band literature for generations to come. (14:00) / Orchestre D'Harmonie

Light Classical and Romantic pieces for Piano, edited by Dorothy Bradley. / Piano

Par PURCELL HENRY. Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey, and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral, ecclesiastical, operatic, theatrical, incidental, and chamber music were all enriched by his output. Fantazias And In Nomines is a collection of his 15 Fantasies and 2 In Nomines, Z. 731-747. Purcell is credited with popularising the hitherto arcane form of the Fantasy, perhaps most famously in his Fanstasia Upon One Note, where a middle C is sustained throughout – in live performances this issometimes played by a volunteer from the audience! This full score edition has been edited by the renowned musicologist Robert Thurston Dart. / Rép Classique / Répertoire / Conducteur

Book 2. Par FELLOWES E.H.. Edited by Edmund Fellowes CONTENTS ANONYMOUS: Willow Song (D - D) CAMPIAN, Thomas: Follow your saint (D - D); When to her lute Corinna sings (B - D) DOWLAND, John: Come again, sweet love doth now invite (C - D); Sleep wayward thoughts (E flat - C); Sorrow, stay (C - C) FORD, Thomas: Fair sweet cruel (D sharp - D) JONES, Robert: Now what is love (C - C) PILKINGTON, Francis: Diaphenia, like the daffdowndilly (C - C) ROSSETER, Philip:/ Recueil / Chant et Piano

Twelve Sonatas for Two Violins, Cello and Keyboard, Op. 4, Vol. 2, Sonatas 4-6 by Henricus Albicastro (fl. 1695-c. 1738) Edited by Timothy Roberts Score and Parts: 76 pp. Instrumentation: 2 violins, cello and BC (or keyboard)

Description Solos For The Oboe Player Selected and edited by Whitney Tustin. Fifteen pieces offer the player a variety of period and styles. Songlist Andante And Allegro (Sonata No.15) [Loeillet, Jean-baptiste] Aria (St. Matthew Passion) [Bach, Johann Sebastian] Concerto No. 8 In B Flat [Handel, George Frideric] Kuruka-kuruka [Yamada, Koscak] Largo [Fausch, Johann Friedrich] Mazurka [Debussy, Claude] Romance No.1 (Three Romances) [Schumann, Robert] Sonata In A Minor [Telemann, George Philipp] Song (Two Pieces) [Gliere, Reinhold] Theme (Symphony In C, 2nd Movement) [Bizet, Georges] Toadinha (A Little Song) [Berger, Jean] Traume [Wagner, Richard] Two Arabian Dances [Laurischkus, Max] Two Songs [Liszt, Franz] Vocalise Op.34 No.14 [Rachmaninov, Sergei]